MONDO-DR 33.1

LA7.16 i

AMPLIFY DIFFERENTLY

Think differently about how amplifiers should work: Explicitly designed for installation environments, LA7.16i is a multitasker with 16 output channels, each able to produce 1300w at 8 ohms.

Multi-Channel, Multi-Type, Multi-Time, Multi-Signal.

DIVE IN

The Adamson Fletcher Machine is an audio rendering processor offering incredibly simple operation with highly efficient spatialization tools, with hardware models offering 32, 64, or 128 inputs and outputs. To learn more about the Adamson Fletcher Machine visit our website at www.adamsonsystems.com

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Assume nothing.

It takes very little time for the A-Series to reveal its true colors: Coverage options to spare. Extra clever acoustic control. More flexibility. Fewer compromises. Approach sound reinforcement from a different angle: dbaudio.com/a-series

More art. Less noise.

TAKE CONTROL OF

MONDO-DR

ON THE COVER

Théâtre du Châtelet

Image courtesy of Robe France

ASSISTANT EDITOR

Todd Staszko t.staszko@mondiale.co.uk

SENIOR ACCOUNT MANAGER

Laura Iles l.iles@mondiale.co.uk

ACCOUNT MANAGER Cameron Crawford c.crawford@mondiale.co.uk MARKETING

Welcome to the 33rd annual cycle of MONDO-DR. It’s been a fascinating first sixth months in this role and I’ve genuinely enjoyed every minute –even that perilous hour or so when I was co-hosting the MONDO-DR Awards ceremony in Las Vegas in June (something which was most certainly not in the job description…!).

The 2023 edition is now open for submissions, so get your projects at the ready! We are introducing two new categories – ‘Transport & Built Environment’ and ‘Museum’. Full details can be found on our website (www.mondodrawards.com) and if you’re still unsure, please feel free to drop me a line.

I write this as I attend InfoComm Southeast Asia, a region which is gradually opening up and gathering the momentum we have witnessed over the past six to eight months in Europe and the United States… things are looking up for the industry, and I would like to take this opportunity to wish everyone a very happy end to 2022 and a prosperous 2023. Enjoy the festivities!

TODD STASZKO

ASSISTANT EDITOR

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PLASA 2022

EMEA

LONDON / 4 - 6 SEPTEMBER

This year’s PLASA Show returned to Olympia London’s Grand Hall and organisers reported a 41% increase in visitors and double the number of international visitors, signalling the receding influence of the COVID pandemic.

As is customary, many of the leading manufactures had their products on display with teams assembled ready to demonstrate new features in familiar surroundings.

Robe used PLASA as the official launch of their iFORTE moving head, an IP65 version of FORTE, the brand’s current highest-powered transferable engine LED luminaire.

ETC introduced the High End Systems SolaPix 19 XT wash luminaire, an IP 65-rated SolaPix 19 designed specifically for indoor and outdoor events which utilises a weatherproof housing and sealed glass front lens to deter the ingress of dust, water, and other liquids.

ROE Visual launched Graphite, the new LED panel targeting the indoor event market, which offers a durable yet lightweight LED solution that provides quick installation through its intuitive smart-lock system, ideal

for building large LED walls and ceilings fast and efficiently. Out Board enjoyed a busy show as they unveiled several significant developments to existing products, including the new TiMax 600-Series Mac and PC software, with significant augmentation to TimeLine and PanSpace object-based spatialisation functionality, as well as workflow UX enhancements.

Avolites demonstrated its new standalone video application PRISM ZERO, which expands the PRISM range of production tools and brings simplicity to complex video design and integration, which is ideal for venues, corporate events or art installations where there may not be a video specialist on site.

Robert Juliat presented Sully 4C Series, an affordable, colourful and versatile product range featuring a brand new software platform, RJ Color, offering multiple controls and functions.

Claypaky presented all the products it had recently launched on the market and organised a series of daily workshops to illustrate their functionality and features. “We have had very favourable feedback from lighting professionals,” said Claypaky Sales Director Alberico D’Amato. “The market has almost fully reopened after the COVID-19 years. There is great excitement and eagerness, and our lights are there at the forefront to lead the rebirth of our industry.”

Data Strategy demonstrated its cable and electrical safety workhorse, the QC-Check workstation, as well as some of the QC-Check’s most popular add-on modules, including VeriCal, Power-Check LOLER inspection and SimplyPATS integration software. PLASA 2023 will take place from 3-5 September 2023, once again at London Olympia. www.plasashow.com

Data Strategy directors Iain Roche and John McMullan on their stand.

The Robe team on their stand.

Nils de Laeter of ArKaos.

Cat Shepherd and Opasna Randev of ETC.

Dave Haydon and Robin Whittaker of Out Board.

Marina Prak of ROE Visual.

Sam Woodward of TAIT.

Members of the Avolites team on their

EMEA

HAMBURG / 18 - 20 OCTOBER

Located in Hamburg, LEaT con hosted its inaugural event with more than 150 brands at over 80 stands, with over 2,100 participants including around 500 exhibitors, speakers and crew. Standing for Live, Entertainment and Technology, LEaT is aimed at all players from the entertainment industry.

The exhibitors at this year’s show enjoyed that all the shell scheme stands were of similar size, making sure all companies were on an even

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keel. Labelled as more of a networking event, the exhibitors found that they had plenty of time to speak with their customers, which were all of an excellent quality. The various training rooms and demo spaces showcased d&b audiotechnik Soundscape using a DiGiCo sound desk, Dante Certification level 1 and training on the MA Lighting grandMA3. Beyond training, the main stage presented more than 70 speakers who featured on various deep dive panels and discussions. www.leatcon.com

ORGANISED BY

SUPPORTED BY SPONSORED BY

LLB 2022

EMEA

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STOCKHOLM / 4 - 6 OCTOBER

Organised by LLB, a supplier’s association in the Nordic region for companies selling professional-use equipment for audio, lighting, video, and multimedia, the biennial LLB Expo was held for the first time since 2018 after the cancellation of the 2020 show.

Taking place at Stockholmsmässan, just an eight-minute train journey from the city centre, LLB featured a host of familiar names on display as companies set up their stands to highlight what products and solutions they offer from a variety of manufacturers.

After discussions with exhibitors, attendees and organisers, the conclusion most came to was that this year’s event was a huge success.

“We had a little over 3,000 visitors, which was slightly less than 2018, but we knew would happen as in Sweden, and many other countries, a lot of people have moved on to other industries after COVID-19. Our future target would is to reach 4000 visitors for 2024.

“The Interlite booth was one of the larger lighting booths on the show where you could see the world premiere of PORTMAN P2 LED and the European premiere of REVE E3 IP from CHAUVET,” he commented. “It was great to meet people again. Nothing beats the feeling of personal meetings with customers and hands-on showing products.”

Intersonic took the opportunity to announce that they are the exclusive Scandinavian distributors for AtlasIED, with Marketing Manager Charlotte Cardelöv, commenting: “The exhibition went well and we are positive for the future. It was nice to finally meet customers - both new and existing ones - face to face after waiting more than two years.”

1 2 18 EXPO - LLB 2022 | WWW.MONDODR.COM

The Genelec team displayed their latest technologies and informed visitors of the new Experience Centre, which is situated inside the Park Studios complex in Stockholm – a facility that allows customers to see a wide range of Genelec solutions in one place. Genelec Regional Sales Manager Erik Skanderbeck said: “It was great to be back at LLB after a break of four years due to the pandemic. There were more AV-oriented companies present than previous shows, which attracted more system integrators and AV consultants. Overall the networking and social interaction was the most important part of the show for Genelec. From pre-show LLB surveys we knew that Dante, AoIP and Dolby Atmos was two areas of main interest among the visitors, and feedback from the exhibitors was very positive.” Bjorn Starfelt, President of Starfelt AB, was showcasing the Audac VIRO5 loudspeaker on his stand and was pleased with how the show went. “The LLB Expo felt like a real ‘get together’ after being postponed and delayed several times, it was really a fresh start again,” he said. “For us, the show was really successful. We had a lot of interested visitors, both old ‘familiar faces’ and also new ones. The new IP-range from CHAUVET DJ, and the new Audac IP-rated speaker VIRO5 caught the most attention.” SpecialElektronik had a demonstration of HYPERVSN Wall, a 3D portable signage solution which brings content to life with fast-spinning LED, while Standard Audio were highlighting the latest products from Electro-Voice. The next LLB Expo will take place from 1-3 October, 2024. www.llbexpo.se

Löfving, Export Sales Manager, Prophon Sound Systems

Hakan “Brollan” Söderström, Managing Director, Electrosound, Tom Back, Managing Director, Alcons Audio and Robin Whittaker, Director, Out Board, on the Electrosound stand

van Slooten of Specialelektronik

Cardelöv, Marketing Manager, Intersonic

Starfelt on the Starfelt stand

Arvidsson, CEO, and Felix Martinsson, Web Developer, on the Interlite stand

Skanderbeck, Regional Sales Manager, Genelec

Claes Jansson, Standard Audio

Anthony Berry, Scandec

Joseph Persson, CEO, Ambisonic

IN BRIEF

Lynx Pro Audio weather-resistant loudspeakers provide the soundtrack at Bali beach club

Every day is a Sunday at the Sunday Beach Club in the Uluwatu region of Bali, thanks to the new audio setup of weather-resistant Lynx Pro Audio Juno JN-6T and JN-8T loudspeakers.

The products supplied by Indonesian distributors Melodia and they and their AV consultant partners Sontastic worked together to install the speakers at the club. The Juno cabinets were chosen because they were weather-resistant. They have been set up in the beach zone as they can withstand salt, rain and also have UV protection and offer high durability, superior performance and a sleek modern design.

www.lynxproaudio.com

IN BRIEF

Théâtre du Châtelet chooses Robe T1 Profiles and RoboSpots

The Théâtre du Châtelet, an iconic arts and cultural landmark venue in the first arrondissement of Paris, designed by JeanAntoine-Gabriel Davioud and completed in 1862, re-opened to the public in 2019 after several years of extensive renovation work. Part of the lighting rig at the 2,500-capacity theatre are 40 Robe T1 Profile moving heads. Initially 36 were supplied to the venue by Robe France to replace the old non-automatic projectors in front of and above the stage. Bernard Maby, Théâtre du Châtelet’s lighting manager for nearly 30 years, says the T1 ticks all the boxes for what the venue was looking for. “The machine is very quiet, and this is exactly what we were looking for,” said Maby. “These luminaires are perfectly suited to the environment and for solving the lighting issues we face here at Châtelet.”

While the T1 Profiles at the side of the stage are rarely used for gobos, those positioned above and flush with the stage allow guests to be immersed in the magnificent setting, where the light and the architectural features and shapes combine perfectly with the venue’s spectacular époque period décor – red velvet, ostentatious chandeliers, gilded detail, and plasterwork – adorning the auditorium. The other T1s, positioned laterally on the third level balcony lighting the stage, can also be used for beam work, and accurately shuttered to highlight the various 19th century paintings and writings embellishing the underside of the large domed central ceiling.

Bourriau

Photo by Dimitri

An all new and innovative control solution

Pharos Architectural Controls is an award-winning British manufacturer of dynamic lighting control solutions for architecture and other specialist industries. Our products are highly flexible, versatile and powerful, and trusted to run day and night illuminating iconic installations around the world – from international landmarks and historic architecture to theme parks, airports, stadiums, bridges, shopping malls, art installations, and more.

EXPERT CONTROL

EXPERT TOUCH

EXPERT REPEAT

IN BRIEF

Koka Booth Amphitheatre upgrades with ElectroVoice and Dynacord after competitive shootout

A fully weatherised installation version of ElectroVoice X-Line Advance has made a dramatic difference to the Koka Booth Amphitheatre in Cary, North Carolina. Long-time audio suppliers CareySound AVL won the competitive tender for the project and after studying the venue, which hosts the North Carolina Symphony concert series annually, they decided to present a left-right X-Line Advance line-array system with cardioid subs. “We realised this was going to be more of a shootout, with several other manufacturers there as well,” explained Ken Carey, CareySound founder and chairman. “Since most major tours bring in their own systems, our approach was to optimise the new house system for the symphony. That meant full-range, even coverage, all while keeping energy off the stage – especially sub energy. As a result, our demo sounded different. The other rigs all had this overwhelming lowend, which tends to hide a lot of details. By comparison, the EV-Dynacord system sounded great, very accurate and clear.”

Twin five-element EV X1i-212 arrays employ three 90° boxes above two 120° models for primary coverage. The original centre hang position now houses three EV X12i-128 dual-18in subwoofers in a cardioid configuration, hung in a custom rig created by CareySound. All feature fiberglass enclosures and protected electronics.

In addition, each of the three main hangs houses one EVF-1122D/94 down-fill speaker. Across the stage lip, six EVC-1082/96 speakers provide front fill, and six low-profile Electro-Voice MFX-12MC handle stage monitor duties. Away from the stage, the crescent-shaped concessions building at the back of the audience area is served by 12 EVC1082-96 speakers.

All the loudspeakers are driven by Dynacord IPX series amplifiers, with supervision via SONICUE Sound System Software and Dante audio networking over CAT6 and fiber lines.

Performance is optimised via the EV factory loudspeaker settings in SONICUE. The combination of six Dynacord IPX10:4 amps – along with one each of IPX20:4 and IPX10:8 – delivers 90,000 total watts, powering every speaker using just eight amps, and along with their exceptional energy efficiency, all IPX models offer fully integrated 96 kHz DSP for superior sound quality.

www.electrovoice.com www.dynacord.com

With its exceptional opening angle of 0.8° and its 260 W laser source, BARACCA reinvents the automatic Beam. Equipped with an impressive 222 mm lens and capable of delivering 462,000 lux at 20 meters, it produces a beam that is extremely present in space at equally extreme distances. To express all your creativity, it integrates, in an IP aluminum housing, a CYM + CTO trichromy color system, a 17 color wheel, a 19 fixed gobo wheel and 4 prisms (8, 16, 6 linear, double linear) as well as a 6 colors and a frost.

Baracca, the most powerful, most expensive machine ever developed and manufactured by Starway

EXPO DIARY

NOVEMBER

INFOCOMM SOUTHEAST ASIA BANGKOK infocomm-sea.com NOV 2-4

NOV 19-21 JTSE PARIS jtse.fr NOV 22-23

LDI LAS VEGAS www.ldishow.com

FEBRUARY MARCH

TPi AWARDS LONDON www.tpiawards.com FEB 27

MUSIC INSIDE RIMINI RIMINI www.musicinsiderimini.it MAR 27-29

APRIL

LIGHT22 LONDON lightexpo.london NOV 22-23

JANUARY

CUE ROTTERDAM www.cue.nl JAN 31-3

EXPO SCENE MONTREAL www.citt.org APR 13-14

NAMM ANAHEIM www.namm.org APR 13-15

NAB LAS VEGAS www.nabshow.com APR 16-19

FOCUS

PARKS & ATTRACTIONS

Outstanding installations from theme parks and attractions around the world.

Delivering premium audio for parks and attractions

COMPANY: Genelec

These days, the category of parks and attractions is increasingly broadbased, and the technology within them is ever more sophisticated. As well as theme parks, we could also consider galleries, museums, experience centres, aquariums, planetariums as well as any outdoor tourist attraction. For the purposes of this article, we’ll be considering the requirements for how to achieve the best audio in indoor environments, as the requirements for outdoor sound are very different.

Quality control

Audio quality is, of course, the primary consideration when it comes to designing audio systems for any type of venue, and visitor attractions are no exception. If we accept that the principal goal of any attraction is to engage the visitor as fully as possible, we also accept that high quality audio – even if it’s only for announcements – is an essential part of the experience. Visitors need to be able to hear every detail, even at

low volumes, hence crystalline, transparent and non-fatiguing audio reproduction are definitely high on the list of priorities. Ideally, the audio element will be considered at the planning stage, allowing the sound design to be fully integrated with the rest of the project, although all too often it’s still considered as an afterthought.

Genelec, who are known worldwide for the matchless quality of their monitor loudspeakers in the recording and post-production markets, have successfully applied their expertise to a range of dedicated installation loudspeakers that have enjoyed increasing success in the installed AV market over the last decade. Customers who value pristine audio quality and long-term reliability combined with harmonious aesthetics appreciate the added value of a Genelec sound system. Integrators will take things a step further, adding ease of integration, a comprehensive list of mounting accessories, convenient rear panel room compensation switches and first-class customer support to the list.

Total immersion

There’s no doubt that as technology evolves at all levels, be it video, projection mapping, audio, and even scent design, the ‘immersive experience’ is increasingly important across the majority of visitor attractions. Each element is an essential part of the jigsaw that makes up the whole experience. Once again, premium audio is a must, making Genelec a solid choice. Their Smart IP range of networked loudspeakers is particularly well adapted to this sort of application, offering power, audio, calibration, control and monitoring over a single CAT cable. When it comes to developing immersive exhibits, the ability to fully integrate all parts of the experience across a single IP network is a significant consideration for integrators, as is the ability to configure – or reconfigure – on the fly.

A recent avant-garde casino installation in Tampere, Finland that aims to promote the joy of gaming in a lush, relaxed environment that is unlike any other casino in the world, opted for a Smart IP solution throughout. “We wanted all of the casino AV technology to be built on an IP network with full remote controllability,” explains Sami Käyhkö, managing director of Craneworks Oy who designed and supplied all of the digital AV solutions for the new attraction that includes six separate 12.1 surround sound zones, each offering a different experience. “Audio, video, lighting, digital signage, the AV matrix and scaler, and even scent diffusion, are all controlled over the same network.”

Käyhkö sums up the advantages cited by the majority of integrators who opt for a Smart IP solution. “From a sound quality and durability point of view you can’t ask for more, and of course they are very easy to install with just one Ethernet cable and no external amplifiers to worry about.

The other major bonus points were full remote control – our HQ is in Helsinki about 150 km from the casino, so you don’t want to have to drive there just to adjust one speaker – and easy on-the-fly configuration that enables us to react quickly and easily when content is updated.”

Sustainable systems

Sustainability is another subject that resonates increasingly with venue owners and integrators alike. Genelec has been committed to sustainable development and manufacturing processes since the company was formed over 40 years ago, and Genelec loudspeaker systems have always been manufactured to last. This is a quality that is extremely appealing to owners and integrators alike. Rock-solid 24/7 reliability that is pretty much guaranteed for decades is a plus in everyone’s book. Added to that is the knowledge that the carbon footprint of each Genelec loudspeaker has been kept to a minimum thanks to locally sourced manufacturing materials, loudspeaker enclosures fashioned from recycled aluminium and highly efficient energy and recycling processes. Some models are even available in a stunning natural ‘RAW’ finish that requires no painting at all for an even more eco-friendly option. Finally, the Smart IP platform, in addition to the practical and operational benefits, is another step in the right direction towards sustainability –the greatly simplified installation process reduces cabling by at least half, and frees up time and resources. It can even run off the existing IP infrastructure, potentially another significant saving. Whatever the scenario, Genelec Smart IP systems provide true, sustainable profitability for all installation projects.

www.genelec.com

Hong Kong Science Museum

COMPANY: AV Stumpfl LOCATION: Hong Kong

To celebrate the 25th anniversary of the Hong Kong Special Administrative Region, its science museum is staging a large-scale dinosaur exhibition called The Hong Kong Jockey Club Series: The Big Eight – Dinosaur Revelation.

Eight of the most iconic prehistoric creatures, original fossil material and fully intact skeletons are illuminated by a whole host of multimedia projection techniques and special lighting effects, blending the worlds of scientific research and unique scenography. Audiences are being offered immersive experiences to appreciate such a unique display. Local system integrator, Cosmovision was tasked with setting up multiple short-throw projectors – in both landscape and portrait orientation – onto a wave-shaped canvas structure. Jason Yeung, Cosmovision’s technical sales engineer, expressed just how complex this project was, due to the irregularities of the set-up.

“The 10m by 7m wave-shaped canvas required a complex placement of equipment; we had to take into account overlapping areas to blend edges and eliminate any projection shadows,” he said. “It was difficult, but using PIXERA’s integrated Vioso camera calibration software, the calculations could easily be done automatically.”

Two units of AV Stumpfl’s PIXERA two QUAD media servers, deployed alongside multiple short-throw projectors (with rotating lenses), were Cosmovision’s obvious choice for a highly demanding install like this.

The multi-award winning PIXERA media server system is an integral component of cutting-edge workflows that can feature ultra-high definition or even Unreal engine content and is available as a hardware based or software only solution.

“The client was extremely satisfied with the outcome of this install – it is such a pleasure to be part of this fascinating application, bringing quality AV equipment into museum environments takes the visitor experience to a new and exciting level,” added Yeung. “We can’t wait to see what the future will bring as immersive experiences gain in popularity, with AV equipment being pivotal to taking visitors into a whole new world.”

The Hong Kong Jockey Club Series: The Big Eight – Dinosaur Revelation ran from 8 July to 16 November 2022. www.avstumpfl.com

Installers around the world are embracing the exceptional sound quality and single-cable convenience of Genelec Smart IP networked installation loudspeakers.

With PoE, AES67 and Dante compatibility, plus sophisticated loudspeaker management all supported via a standard CAT cable, Smart IP delivers simplicity and cost effectiveness – even in the most complex installations.

Find out more at www.genelec.com/smart-ip

Loveland Living Planet Aquarium

COMPANY: Obsidian Control Systems

LOCATION: Utah, USA

For those who saw or worked on U2’s 360° tour back in 2009-2011, the famed claw stage will be a familiar sight. What might not be quite so familiar is its new home – the Ecosystem Exploration Craft & Observatory (EECO) at Loveland Living Planet Aquarium in Draper, Utah.

Brent Andersen, Founder and CEO of Loveland Living Planet Aquarium, who saw the U2 show in Barcelona in 2009, acquired the massive 16-storey set piece when the Aquarium expanded in 2019. An iconic piece of concert touring, ‘The Claw’ is now a major part of the exhibit.

Brayden Gardner has worked at the aquarium for the past two years as an AV Technician, handling lighting and sound for EECO and other aquarium spaces such as on-site theatres and new VR experience.

Gardner has been using an Obsidian Control System NX4 to control lighting for shows and events at EECO, including all the lighting on and around the claw structure.

“Our previous board kept crashing,” he explained. “I had experience with the NX4 from a previous employer, I knew it could handle everything we wanted to do here. It was a big upgrade. I love it because there is so much you can do with it.”

Gardner uses the console to control lighting mounted on the EECO

structure – LED bars and PAR lights, orange ‘button’ lights that sit atop EECO, and LED tape – along with ground and fence lights around the plaza and the occasional rented-in moving heads. New LED wash lights for the structure’s legs will go up soon.

“The NX4 is so easy to use. With the encoders and the small touchscreen on the right side, it makes a huge difference when designing. In fact, my design time went down by two hours per show because it is so easy to use. With all the presets and parameters that you have control over, you don’t waste time trying to jump through menus to find what you need –it’s right there and easy to access,” he said.

The tech booth for EECO sits at the back of the plaza with network lines that run under EECO to a control room beneath the 70ft-wide circular stage. There, a large amp rack with an optosplitter sends DMX out to EECO and the surrounding park. Gardner uses six universes on the NX4 to control everything. He also uses a Capture Duet Edition licence – included with every NX4 console – for visualisation of lighting and scenery. “That has saved my life,” he said. “It’s so nice to be able to put that right into the board; it makes it super easy.” www.obsidiancontrol.com

Wunvzhou Resort

COMPANY: Allen & Heath

LOCATION: Jiangxi, China

Located in the Chinese province of Jiangxi, the recently opened Wunvzhou Resort combines tourism and culture via a range of hotels, restaurants, shops, and cultural attractions, all themed on the historic Hui-culture.

Before the resort’s official opening in July, Chinese AV solutions provider EZPro was handed the task of supplying and installing the audio system for the resort’s regular large-scale live performances of Encounter with Wuyuan – performed on a floating stage in the 3,000-seat outdoor arena.

With daily performances of the show at the heart of the resort’s entertainment output, reliability, ease of use and audio quality were key factors in EZPro’s decisionmaking process for the audio system. EZPro opted for an Allen & Heath SQ-7 for mixing duties, partnered with a DX168 portable expander for remote analogue I/O. Additionally, an Allen & Heath SQ-5, also with a DX168 expander, is deployed as a redundant backup system.

Built on Allen & Heath’s innovative XCVI FPGA core, the SQ mixing platform delivers 48 channel / 36 bus mixing at 96kHz with ultra-low 0.7ms latency. The integrated SLink port enables plug-and-play connection to Allen & Heath’s “Everything I/O” ecosystem of remote expanders, making it simple to add up to 48 remote inputs to an SQ system.

Both mixers are fitted with SQ Dante cards, delivering 64x64 audio at 96kHz or 48kHz, with the Primary and Secondary ports supplying a redundant audio link, via discrete network switches, to the arena’s power amps and loudspeakers.

“The Allen & Heath system ticks all the boxes; flexible mix position, super-fast setup and unrivalled ease of use,” stated Xiong Wei, Technical Engineer at EZPro. “The engineers loved the SQ’s DEEP Processing, which enabled them to deliver a studioquality mix for the live performances. It is no surprise that the client is happy with the result.”

www.allen-heath.com

Guggenheim Museum Bilbao

COMPANY: Sennheiser

LOCATION: Bilbao, Spain

Motion. Autos, Art, Architecture is a landmark exhibition organised by the Guggenheim Museum Bilbao in collaboration with the Norman Foster Foundation. The legendary architect and renowned car enthusiast curated the exhibition, and collaborated with another wellknown car fanatic, Nick Mason of Pink Floyd, for the sound design of some of its galleries. Immersive sound specialist Sennheiser was invited to deliver an innovative audio experience for the showcase.

AMBEO Mobility comprises Sennheiser’s suite of immersive audio solutions, which the company is actively developing to revolutionise the future of in-car entertainment and communication.

One of the exhibition’s sections is a dedicated learning spaces as part of the Guggenheim Museum’s Didaktika project, which designs educational content and activities to complement its exhibitions.

Musician, Nick Mason, who also owns one of the iconic cars on display, was approached to conceptualise the soundscape in this area of the exhibit, additionally to having given the sound to a contemporary racing vehicle on display in the Visionaires hall at racetrack sound levels played back immersively. In the Didaktika galley, Mason’s concept was to present a linear timeline of the automobiles shown throughout the

exhibition, selecting and recording the sound of 10 engines from the most iconic and representative cars in the collection. To compose and enable the soundtrack, Nick Mason and his team at Ten Tenths selected and recorded cars in motion, and partnered with Sennheiser to bring to life the vision of an emotion-rich, realistic sound experience powered by immersive audio technology and expertise.

The finished piece is evocatively played along the length of the corridor that fittingly leads to the Future gallery, where worldwide schools of design and architecture are presenting their visionary automotive concepts, with the support of AIC-Automotive Intelligence Center, a European centre for the generation of value for the automotive sector to address the challenges of the 21st century.

“The composition gives a voice to some of the world’s most forwardthinking cars in automotive history, portraying the evolution of automotive engine sounds over time,” explained Johannes Kares, sound engineer at Sennheiser. “Neumann speakers were selected for their compact and invisible design, and their intimate and immersive audio quality, which was the perfect fit for this installation.”

www.sennheiser.com

Photo credit: LEGOLAND® Windsor.

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The Flight of the Sky Lion ride was created by Brogent Technologies.

Terra Natura / Magic Robin Hood

COMPANY: FENIX Stage

LOCATION: Benidorm, Spain

FENIX Stage recently carried out two fixed installation projects in the popular Spanish resort town of Benidorm – one in the new generation animal park, Terra Natura, and the other in the first European medieval resort, Magic Robin Hood.

For the Terra Natura park, an outdoor installation was made for the leisure area Rapanui Bar by lifting a stage formed by a surface of platforms (MT-4) with telescopic legs and stabilisers (CE-PF) of different heights to overcome the slope of the area. Thanks to the union system for platforms (SU-MT), made of zamak, the platforms were united and levelled, as they are fixed using the interior rail of the frame.

“We often see clients who want to lift structures in non-uniform spaces. Sometimes this is because of the ground and sometimes, as in this case, because the site has decorative or structural elements that cannot be touched. With the system of stabilizing bases that we incorporate in the legs, we can adjust the heights to the millimetre and achieve a totally stable surface,” commented Julia Niza, CEO of FENIX Stage.

The rest of the stage is formed by a Forum Roof made up of SQ40B trusses and TR3 ground support towers in black. As it is a fixed

installation and considering the strong winds in the area, the bases have been replaced by footings anchored to the ground to give greater security to the structure.

For the medieval-themed hotel Magic Robin Hood, an indoor installation was made in one of the main restaurant areas, lifting again a Forum Roof style stage, installing on both sides a modular stair (EP-70130) and covering the lower part of the platforms with a flat black skirt (FTL). On this occasion, as it was an installation on a smooth and even floor, fixed legs with stabilisers (CE-PF) were used to correct the heights if necessary and ensure a perfect levelling of the whole stage.

“It is an honour and a great responsibility to carry out projects of this magnitude,” concluded Niza. “Not only because we are part of the growth of one of the leading cities in Spanish tourism, but also because of the large number of people who will interact with our products on a daily basis. Therefore, our priority number one has always been the safety and reliability of both the assembly and the materials and production processes we follow.” www.fenixstage.com

Georgia Aquarium

COMPANY: Ayrton

LOCATION: Atlanta, USA

Georgia Aquarium in downtown Atlanta has installed 40 Ayrton Domino-S IP65-rated profile LED fixtures, 10 Ayrton Bora-S beam/wash lights and MA Lighting grandMA3 lighting control in Phase 1 of the revamp of the dolphin venue created 12 years ago. The equipment was obtained from and installed by Barbizon Lighting, Atlanta; both brands are exclusively distributed in North America by ACT Entertainment.

Russell Sorrow, Production Supervisor of Technical Systems, commented: “We knew we wanted to go in the direction of LEDs and IP65 or higher ratings. “We needed a lot of output, a high CRI index, at least as many lumens as we had, shapers in the fixtures and rotating gobo wheels. You don’t often find everything you want in one fixture – It’s always a tradeoff.” He talked to colleagues in the industry and discovered that Ayrton Dominos “were one of the few fixtures that checked all the boxes.” ACT Entertainment arranged a demo which confirmed for Sorrow that the Dominos’ “capabilities and light output were phenomenal. I wanted to go to a single-fixture rig instead of mixing spots and washes; I wanted the versatility to create effects and have options for future shows.”

Sorrow concluded: “Barbizon was fantastic throughout the project. For us, animal safety comes first with personnel safety a close second. Barbizon was very careful and very good at self-policing its crew for the install. And ACT is always fantastic to deal with and very responsive to any questions.”

www.ayrton.eu

Kangbashi Fountain Square

COMPANY: Digital Projection

LOCATION: Inner Mongolia, China

Kangbashi Fountain Square is a metropolis of lavish apartments, office towers, sports fields, museums, and theatres. Every evening at 8–9pm, tourists and locals gather to witness the dazzling fountain show that takes place, reflected in the Ulan Mulan Lake that runs through the city. This year, to celebrate the National Day festival, the show’s organisers enlisted the help of Digital Projection to achieve a dream-like, water curtain projection show.

To bring the spectacle to life, 28 M-Vision Lasers (21000-WU) were introduced to the installation to cast content onto a vast ‘screen’ of water, created by multiple water jets measuring 200m long and 20m tall.

Mark Wadsworth Vice President of Global Marketing, Digital Projection attributes the ColorBoost and Red Laser technology as one of the many reasons why the M-Vision Lasers were selected for the project: “The customer needed the very best and reliable projectors to display content onto the waterfall like curtain,” he said. “The intelligent colour processing delivers the most realistic and saturated colours, something very important for a unique project of this complexity and grandeur.”

The M-Vision Laser projector – boasting 21,000 lumens output and a 10,000:1 contrast ratio – has been designed so that the optical components are 100% protected from the outside world, from light source to lens, something that was critically important in an outdoor environment like this. For maximum reliability and durability,

liquid cooling and radiators are used to remove energy to the exterior environment, allowing the complete optical system to be comprehensively protected against all types of airborne ingress that would otherwise cause image degradation.

“It’s fantastic to see the M-Vision laser performing well in such demanding conditions as these,” Wadsworth concluded. “It shows how reliable and high performing these projectors are even in the most challenging of applications. It’s a pleasure to see that the M-Vision lasers were chosen for such a complex and impressive install.” www.digitalprojection.com

Futuroscope

The new flagship attraction of the Futuroscope park, Chasseurs de Tornades (Tornado Chasers) takes visitors on a unique immersive experience, taking place at the heart of the largest circular LED screen in Europe.

Made of 800-plus Samsung tiles and powered by Modulo Pi’s Modulo Player media servers, the LED cylinder offers a 21K resolution for a truer-than-life immersion. The experience begins inside a 6m-long holographic theatre mixing video and actors. For this pre-show space, 20 Samsung IFR25 2.5mm pitch panels are installed and powered by a Module Pi Modulo Player Pro media server, equipped with a 4K output. The audience then enter a 120-seat dynamic motion theatre surrounded by a 360° LED screen. Designed by Dynamic Attractions, the 11m diameter rotating platform has been designed to convey sensations of movement throughout the experience. It can evolve on three axes and turn up to 27km/h, lower itself by 20cm and rise upto 1m thanks to a system of motors and cylinders.

To power the 360° LED screen, four Modulo Player Pro media servers equipped with 4K outputs have been installed. The Modulo Pi media servers allow the film designed for the attraction to be played, corresponding to a video playback in a 21K resolution and 60 FPS.

The media servers are also responsible for the audio playback of the attraction, which is based on L-Acoustics L-ISA spatial sound technology.

To create such new attraction, Futuroscope spent €21 million, which is the largest investment for an attraction since the creation of the park. www.modulo-pi.com

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The Air Force Museum of New Zealand

COMPANY: Vari-Lite LOCATION: Christchurch, New Zealand

Visitors to The Air Force Museum of New Zealand are seeing its collection of historic aircraft in a whole new light, thanks to a new LED rig and control solution from Vari-Lite.

The museum took the opportunity during a rearrangement of the main Aircraft Hall display area to replace the existing lighting system to the LED rig to dramatically reduce power consumption and provide a more flexible, long-lasting and dynamic solution. More than 100 powerful, honeycomb-lens SL Punchlite 220 fixtures are now installed, beaming rich, blended and saturated colours onto classic aeroplanes such as a Spitfire, Hudson and Avenger, and washing the space with hues. To control the luminaires in the Aircraft Hall, and for multi-room control of six other spaces including further display areas, lecture theatres, bathrooms and the main atrium, the technical team invested in a Neo Compact 10 Console. A Vision.Net architectural control system has also been installed for a seamless, integrated lighting control experience across all the sites to help the team manage looks, power lighting scenes and simplify management. “We needed a replacement control system that would be able to manage a large number of fixtures, run multiple cue lists, accept inputs from a variety of sources, and run time-based events,” said David Nicholson from the museum, who oversaw the project. “The Neo and Vision.Net combination offers this solution and we are now using the C10 for programming the lighting states in the Aircraft Hall with great success. There were many benefits, including the C10’s compact size enabling us to easily move around the museum doing programming as we moved from plane to plane.”

In addition to the lighting, the Neo C10 and Vision.Net duo are also being used to run timeclock-based events such as audio announcements,

video playback via screens around the venue, as well as building start-up and closedown each day. The museum’s technical team is using the full-featured Neo operating system software on a PC to control more than 500 desk channels, with regular events activated by its internal timeclock scheduler. “Vision.Net screens provide all the human interface requirements around the complex,” Nicholson explains. “There are touchscreens in five locations, and three physical button panels. The panels allow local control of some features, as well as more general functionality such as turning full complex on or off, putting the system into Event Mode to disable or play announcements and activating ondemand display features.”

The Vision.Net system’s preset commands are all monitored by Neo, which in turn runs shortcuts to turn on and off required cuelists. Commands that Neo initiates are run back through the Vision.Net system to keep all Vision.Net screens in sync with the real-world system status. The Vision.Net system also facilitates the customization of each screen depending on its location, as well as password-locked and hidden screens for additional setup and maintenance options.

The new rig was designed by Nicholson in collaboration with lighting designer Joe Hayes, as well as Grant Robertson from Christchurchbased Vari-Lite supplier The Light Site, who also managed the initial design concepts of the Vision.Net and Neo setup. Glenn Stewart from Kenderdine Electrical supplied the Neo and Vision.Net hardware and conducted all the Vision.Net programming. Darren McKane from The Light Site did all the Neo cue and integration programming. choice in that roll-out,” Fares concluded. www.vari-lite.com

THE PALETTE OF CREATIVI

Samurai Museum Berlin

COMPANY: L-Acoustics

LOCATION: Berlin, Germany

Europe’s first museum dedicated exclusively to samurai history and culture, the Samurai Museum is the setting for more than 1,000 artefacts collected over 30 years by German entrepreneur, Peter Janssen. The museum, situated in Berlin’s main gallery district, opened its doors in May this year and has already made quite an impression on its visitors, with some calling it a ‘must-go place for any fans of Japanese culture’. Featuring state-of-the-art technology and multimedia installations that bring the exhibits to life, the audio experience is delivered by L-Acoustics Syva and X Series sound systems, designed by consulting firm MMT Network and installed by system integrator PIK AG.

Composer, producer and music director Christian Steinhäuser asked Ralf Bauer-Diefenbach, Managing Director at MMT-Network, to help with the conceptual design of the audio system. “Artistic projects like the Samurai Museum require extensive knowledge in content interaction, architecture, room acoustics and audio,” stated Bauer-Diefenbach. “The client and the architects are very design-oriented, so one of the key challenges Christian and I faced was to design a sound system that would offer perfect directivity, level and frequency response, while also fitting in well with the architecture and design of the venue.”

Bauer-Diefenbach and Steinhäuser collaborated with the museum’s architects and Ars Electronica Linz GmbH, an Austrian cultural, educational and scientific institute active in the field of new media art, to plan the optimal components using a complex acoustic computer model.

Once the audio concept was complete, PIK AG was brought on board to

perform the system installation and configuration work onsite.

“Having worked with MMT-Network on several projects in the past, we were thrilled to be involved,” said Silvia Weise, Technical Project Manager at PIK AG. “As a system integrator in Berlin and other cities across Germany, we knew L-Acoustics would be perfect for a complex project like the Samurai Museum. The flexibility that L-Acoustics technology offers to sound designers as well as its excellent transparency were vital in creating sound experiences that immerse the visitor and maximize the visual impression of the exhibits.”

The museum covers 1,500 sq m, within which L-Acoustics Syva and X Series are installed in five different exhibit areas. A combination of room acoustics and cleverly designed audio systems were used to create discrete acoustical spaces for each exhibit.

“The Samurai Museum has a modern architecture, with only a few doors and walls separating the exhibition areas and their glass display cases,” Weise noted. “By using L-Acoustics Syva and X Series, we were able to create a unique and immersive atmosphere for each area within the exhibition, without spilling over into neighbouring exhibits.”

A unique feature of the Samurai Museum Berlin is the Nō Theatre a classical 14th century wood structure built by traditional carpenters in Japan, then shipped to Berlin. Here, the diminutive yet powerful X4i coaxial speaker was chosen to provide powerful sound while remaining almost invisible. Installed inside the stage lip, they are complemented by a Syva Sub.

room features projections and touchscreens enhanced with audio which is delivered through four compact X8 cabinets and a further Syva Sub, again designed to melt into the venue’s décor. Here, visitors get a captivating insight into how the samurai have shaped the history of Japan through the centuries, learn about the supernatural Yokai of Japanese folklore, and follow the labour-intensive process of Japanese sword making.

The Japanese Desk exhibit features two Syva cabinets, their elegant form enhancing the exhibit whilst delivering crystal clear vocals and smooth horizontal polar pattern. Four X4i cabinets and a Syva Sub complete the sound system in this area. Finally, the Faces of Battle and Sword Production exhibits immerse visitors in the fascinating world of Japan’s legendary warriors and offer a closer look into the extraordinary skill of traditional Japanese craftsmanship. They have each been equipped with two Syva cabinets, a Syva Sub and four X4i.

A single AVB network covers the entire space which, Weise says, makes it very easy to monitor the system. Content is played and distributed from two PC/Macs via an AVB interface. The system is controlled by LA12Xi amplified controllers, which are all handily located at the exhibition objects, meaning it was only necessary to install a single CAT7 cable between the server room and the exhibits.

The AVB network offers additional benefits for controlling the audio across the different areas. This came to the fore when the decision was made for two adjacent spaces, the Nō Theatre and Faces of Battle, to have sound effects playing at different times. “Having it all mapped on one AVB network makes it very easy to accomplish this task,” said Weise. “I was delighted that L-Acoustics was chosen for the Samurai Museum,” concluded Sebastian Wittrock, L-Acoustics Sales Manager DACH. “Working with PIK AG and MMT-Network, alongside the Samurai Museum team, was wonderful, but the real pleasure is seeing the fantastic results of the team’s efforts in the success of the museum.” Recalling her experience of working on the project and the support the PIK AG team received from L-Acoustics, Weise noted that both experiences were equally enjoyable. “Once again, L-Acoustics offered us great support, ensured everything we needed arrived in time for the installation, and supported us during the final configuration process,” she adds. “We also really enjoyed working with the MMT-Networks team and the museum staff. The cooperation between the teams was exemplary with everyone coming together to execute their part flawlessly. This resulted in a unique exhibition experience, both visually and acoustically!” www.l-acoustics.com

ANN LEROY

“AUDIOFOCUS

From humble beginnings in rural southern Belgium, Audiofocus has grown steadily over its 20 years of operation, accomplishing many milestones along the way. Now, with some key hires and a reinforced R&D team in place, Executive Director and founder Ann Leroy is positive about the future. “Audiofocus really began as a passion project,” stated Leroy. “My brother and I were running a successful audio and lighting equipment retail and wholesale company, which had grown out of our own mobile DJ and rental business. From an early stage we had dreams of making our own products –selling other brands’ equipment is great, but there is nothing quite as fulfilling as seeing your own ideas turned into reality “We started making loudspeakers as a side project; something that we fitted in around the main sales business when we had time. It was very small scale in the beginning, and I can remember sitting and gluing grey carpet onto the early loudspeaker cabinets.

“Each design we made was better than the last, and the sales grew gradually. One of the great things about this industry is that if your products sound good, people are willing to give you a chance. As the word spread and sales increased, we reached a point where the side project had outgrown the main business, which was when we formally created Audiofocus as a separate brand. By 2015 we were ready to move into a purpose-built factory, complete with state-of-theart CNC machinery.”

With the Audiofocus brand becoming more established, Leroy and her team utilised the downturn during the pandemic to invest heavily in the R&D department, and they emerged with ‘Audiofocus 2.0’ branding, and the aim of beginning a new chapter of challenging themselves to innovate, grow and change. “As we head into the company’s 20th year, it is tempting to look back on our past achievements,” said Leroy. “Yes, I am proud of what we have built together, but I am more excited about our potential to take Audiofocus to the next level. Our ambition is to be the real alternative to the super-premium loudspeaker brands. I am under no illusions about how tough it is to achieve this, but I also know that people in this industry can be very open to new ideas when they can see and hear the benefits for themselves.

“We have targeted the greatest investment in R&D, working with a large team of exceptional designers and engineers to create a striking new generation of Audiofocus loudspeakers, built around leading-edge, proprietary technologies. Our Carys column PA system is the first glimpse of what is to come from Audiofocus 2.0, but I can promise plenty more product reveals in the months and years ahead.”

Competitive Market

Leroy admits that the loudspeaker segment is arguably the most competitive part of the professional AV market, but she is confident that the hard work they have put in to product development will stand them in good stead as they aim to stand out and take their business to the next level.

“We need to offer not just an equivalent product to the competition – we need to present something truly special,” continued Leroy. “So instead of cutting our R&D investment, we went in search of the innovators who shared our willingness to push the boundaries. We are also not afraid to talk about cost engineering. We want to offer a premium product, but we’re laser-focused on driving out unnecessary costs to keep Audiofocus in reach for mainstream customers.”

One recent development was to offer a range of passive speakers, and also adding a dedicated ‘installation’ version of their key ranges. “Audiofocus built its reputation by making self-powered loudspeakers for our customers in PA rental and touring, and many of those customers also install systems

Above: Inspecting a prototype from the R&D laboratory.

Below: ARES 8 line array elements in final assembly.

in theatres, houses of worship, nightclubs and so on,” said Leroy. “They wanted to specify Audiofocus for their projects, but they needed some help to compete on price, so we began a complete review of our ranges to meet the requirements of install without compromising on performance.

“First, we took the decision to offer passive and bi-amplified versions of most products. It is clearly much less expensive to install 10 speakers powered by one external amplifier than it is to install 10 speakers with 10 integral amplifiers.

“We now offer most products in multiple self-powered, passive, touring and installation variants, so the customer can mix and match the speakers to the budget and project requirements. Looking to the product roadmap for the future, you will soon start to see Audiofocus products that are designed from the ground up to go into installation projects.”

One major influence on new product development has been the input of independent audio engineer, Patrick Demoustier. “Patrick is well known and respected as a freelance live sound engineer in Belgium and around the world,” said Leroy. “His schedule is normally fully booked with tours and festivals, but during the pandemic he had the time to get involved in clarifying the existing range and setting the new product roadmap. Having Patrick’s independent perspective is crucial – it helps us to make sure that all our R&D energy is focused on addressing current, real-world requirements.”

Another addition to the team is Håkan Sjöö, who joined as Head of EMEA Sales. “Håkan knows everyone and everyone knows Håkan,” continued Leroy. “He has worked in international sales for leading brands like Renkus Heinz, Powersoft and Holoplot for many years and is universally liked and respected.”

Spike in Interest

“The most difficult part of expanding distribution is to get toptier distributors to take a closer look at another loudspeaker brand, but once we get the opportunity to show the quality of the products, it is much easier for them to see the potential. Håkan has begun to spark those initial conversations in EMEA, but with his global contacts we have inevitably seen a spike in interest from around the world.”

The first product to be released under the ‘Audiofocus 2.0’ banner was the Carys column PA, which was previewed at ISE in May. Leroy believes the product is a statement of intent and a taste of what is to come from the company.

“The concept with Carys was to create a column PA solution with the power and directivity of a line array, but in a system that is fast to set up, and which will fit into environments where the client does not want the speakers to be in your face,” said Leroy. “Our R&D network took this challenge and ran with it. To achieve the results we needed, we have invested in leading edge technologies such as Tetracoil Double Voice Coils, Air Motion Transformer HF drivers, and a new custom waveguide. We even adopted a completely new construction method to give Carys its great rigidity, using multiple bonded rings or contours of plywood instead of the traditional larger sheets. We have not been afraid to take a leap into the unknown in search of a better end-result, and the finished product more than justifies the investment of time and funds.

“The system has a throw of 45m and a preliminary SPL of 135.7dB. We have streamlined the system to just two boxes: a powered LF / Sub, with a column mounted on top via a neat new locking system, making it quicker to set up and more cost effective than any comparable rival. Carys is also a naturally cardioid design, so it can be deployed nearer to walls and

“LOOKING TO THE PRODUCT ROADMAP FOR THE FUTURE, YOU WILL SOON START TO SEE AUDIOFOCUS PRODUCTS THAT ARE DESIGNED FROM THE GROUND UP TO GO INTO INSTALLATION PROJECTS.”

Above: Håkan Sjöö, Head of EMEA Sales, pictured with the new CARYS line array at ISE earlier this year.

Above: Audiofocus production in Achêne, Belgium.

Above: A compact Audiofocus ARES 8 line array system was recently selected to deliver the coverage and intelligibility required for the Municipal Theatre of Valparaiso in Chile.

corners without the reflection issues you get with some other column PAs.”

Leroy was delighted at the response to Carys from all who visited their stand at ISE, and admitted that there was some apprehension about the product prior to unveiling it.

“No matter how much end-user consultation you do during the development process, you are always a little bit nervous when you show your new baby for the first time – especially as most of the Carys development took place during the isolation of the Covid era,” said Leroy. “But we had people who have never worked with us before trying to place orders on the booth, which tells you something, and that response was exactly what we had hoped for. Customers could see exactly how Carys might fit into their inventory, and they were impressed by the level of technical innovation.

“Obviously, this was the first ISE show in Barcelona, so we were not too sure what to expect because ISE in Amsterdam always felt like our home turf, but the show gave us a valuable opportunity to showcase what we can do to distributors, integrators and rental companies that we hadn’t met before, so we were very happy with the results.”

Buoyed by the feedback received on the Carys PA, Leroy knows the hard work must continue if Audiofocus is to maintain its upward trend, and the bulk of that hard work is done at their factory in Achêne, in southern Belgium.

“Our people and our factory in Belgium are the heart and soul of Audiofocus,” said Leroy. “We are like a family, and I cannot see that changing. We are lucky to have very skilled and dedicated people, many of whom have been with us for many years. For me, a brand has to mean more than a logo and a balance sheet. In the same way, when I see our products ready to go to a customer, there is a pride and a connection which you do not get from ‘shifting boxes.’

Ambitious Plans

“I want every single Audiofocus loudspeaker to be built to the same quality right here in this building. For all the technology that goes into the design and manufacturing of our loudspeakers, there is still a strong element of artistry involved in assembling and finishing the products to the highest standard. Our plans are ambitious and there will be many changes, but we will not lose sight of who we are: a proud Belgian company making high quality loudspeakers.”

One aspect of the production process that Leroy is keen to highlight is the use of high quality-birch for the cabinets. “Birch is an amazing acoustic material,” she said. “Its rigidity and strength-to-weight ratio are perfect for loudspeakers, and if you insist on the right level of quality, it is acoustically inert. Within a loudspeaker you are carefully controlling the movement of air, so unwanted vibration or voids are things you want to avoid.

“There is not one most important part of a loudspeaker,” she continued. “Every component, every detail has an impact on the sound and reliability of the finished product. It is always possible to find cheaper parts, but we appreciate the consistency and close relationships we enjoy with our existing European suppliers. Ultimately, we are trusting them with our quality and reputation. We also like to limit the environmental impact of transporting components wherever we can.”

To realise their ambitions, Leroy knows she needs a world-class team and an exciting range of innovative products, and by attracting industry specialists who have sharpened company activities across the business, Audiofocus is well-placed to build on its growth as it begins a new chapter.

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BELLEFIELDS

LONDON / UK EMEA

Brixton has been at the centre of art, culture and the community for more than 150 years. Back then just a small village back straddling the trunk road into London, the area underwent a dramatic transformation in 1876 when The Bon Marche department store, built by James Smith, a local businessman from Tooting who won £80,000 in prize money when his racehorse Roseberry won an unconceivable double at Newmarket, was opened and attracted large numbers of the middle classes to the area. Inspired by the opulence of the original Bon Marche in Paris, Smith embarked on creating an unrivalled shopping destination, and by the mid-1920s Brixton had become the shopping capital of London.

Following the success of the main store on Brixton Road, a Ferndale Road annex was added in 1906 to provide two additional floors of retail and staff accommodation. After almost 50 years as a retail destination, the site was converted into a variety of uses and eventually fell vacant. Architects Squire & Partners purchased the dilapidated Edwardian building in 2015, renaming it The Department Store, and have entirely reimagined the space allowing the existing fabric and layers of history to inform the new design. Collaborating with craftspeople, furniture makers and technology specialists, the restored and extended building provides an exciting array of creative workspaces, amidst which a new café bar restaurant has evolved: Bellefields at The Department Store.

The newly opened venue provides a calm and peaceful space in which to entertain, celebrate, collaborate or simply soak up the ambience of Brixton’s eclectic surroundings. It’s fully equipped with a high quality multi-zoned audio system from Italian style setter K-array, installed and commissioned by Vauxhall-based integrated technology specialist Flux London.

“Music has such a huge impact on people, probably more than they realise – try watching a film without a soundtrack – and you can use it to control mood and atmosphere,” noted Tim Gledstone, Partner at Squire & Partners. “When you walk into a room, lights and smells are all very important but having the right sound, the right mood, the right character to that space is really critical.

“We needed to be able to change the atmosphere at will as there are three primary uses during the day – restaurant, bar, and privately accessed workspace which closes at 5pm, and then we need to turn it up a bit. So we needed a lot of versatility from a sound system.”

A brief went out to Flux London, who Squire & Partners had successfully contracted to fit out the roof top members’ club in the same building – Upstairs Brixton. “The K-array formula worked so well in there that we proposed a similar set up for Bellefields using PythonKP102 metre-long line arrays and Python-KP52 half-metre line arrays split into three discrete zones for versatility, with Thunder-KMT12P passive subwoofers on the floor to make sure we could deliver solid

low-end response for when things get lively,” said Flux Director Harry Hawkins. “They were also keen to mirror the use of the fabulous green oak woodwork that made Upstairs such a warm visual statement, which as we learned also has unexpectedly beneficial acoustic properties.”

Being essentially a new build, Flux had the luxury of being able to run cabling anywhere they wanted, and called in K-array’s UK distributor, 2B Heard, at an early stage of the project to provide some acoustic modelling. “2B Heard were brilliant, they came in and did some heat maps of the space, and those simulations helped us to optimise the best locations for the speakers,” said Hawkins. “Dave Wooster also spent a day here to EQ the system and give it that specialist touch, that extra 10%.”

Hawkins’ brief was to steer high quality and potentially loud audio into the right areas, but with the ability to notch it down to lower levels at the same quality. The restaurant / café area required a more relaxed feel overlapping into the outside patio, while the main bar at the front heats up with a lively atmosphere, as that is the main focus for customers coming in for the evening. The separate member’s lounge is a more subtle environment during the day but opens up after a set time in the evening and fills the void. In all three zones the line arrays are set high and angled down on standard K-WALL brackets, focusing energy quite locally into each area with very little overspill. The speaker system is powered by K-array Kommander DSP amplifiers from the basement rack room, while overall control of the system is provided by a touch panel display which can control the individual zones from behind the bar. There is a linking mode that allows zones to operate independently or to be linked together, so it’s very simple to manage and change the levels as required. DJ gear can easily be brought in and connected for up-tempo nights or parties.

Gledstone is keen to differentiate Bellefields from other restaurant bars, in that it offers its customers an inclusive, creative work-and-play environment that encourages collaborative thinking and community engagement. It’s a place where small businesses can grow – from a simple idea that can be developed in the small rental studio spaces and even used to host presentations to stakeholders in the basement cinema. Central to that environment was the need to create the right infrastructure and fill the space with a sound system of exceptional quality, designed to keep evolving and be able to added to, rather than opt for a solution that may have been less expensive but would have a shorter shelf life.

“Good sound sets the scene, using it to not only punctuate the day but it can also accentuate your week and where you are in time,” he emphasised. “Running three different zones allows us to transcend from breakfast right through to club time with people getting ready to go on to the Academy. And we can seasonally adjust to the weather

Natural acoustics working in harmony with simple raw materials, Bellefields in Brixton celebrates music and culture with discrete K-array Python arrays.

– when the sun’s out in Brixton there’s a little taste of the Caribbean, and to be able to do that straight away is essential. We are never strictly shut/nightclub/shut, it’s much more fluid than that. This is a place where you can enjoy jazz with a cup of coffee; a flavour of Buena Vista Social Club and all the way through to ‘A Bat Out Of Hell’ to close the night out.

“Flux responded fantastically to our needs. We’ve known them from early beginnings in their Waterloo office as a group of people with passion and enthusiasm for what they do, and an obsession for quality over commerce. The teamwork was absolutely brilliant on every level, understanding our needs intimately, knowing us, living the dream with us, being members of our bar and restaurant and hosting events themselves – such is the hand-in-glove relationship.

“As architects and designers we get involved with a lot of specialists, and we believe that our skill is in putting brilliant people together –we’re the overlap of the Venn diagram – and knowing when to bring the right specialists in is a massive part of any project. When it came to Bellefields there was no question as to who we should work with because of their knowledge and passion.”

According to Gledstone, sound quality from the K-array system is “incredibly rich and clean, crisp and detailed. It seems to handle the sound level range from very subtle to full on extremely well; we never ever get a rattle or a rustle. Aesthetically it’s a win – we have a simple palette here of natural materials in the brick and cross-laminated oak timber that play off each other, and the black K-array speakers just sit elegantly as beautiful objects in their own right on the primary structure. They don’t need to be hidden because they’re every bit worth viewing.”

He notes that customers are certainly aware of what’s going on with the sound. “All senses are working hard, and working in harmony with the calm atmosphere at Bellefields, perhaps in contrast to Brixton’s sensory overload. An often-heard comment from visitors is ‘I think I’m on holiday!’

“We believe Bellefields is a showcase in the true spirit of the Department Store, with the right partners our building is a showroom for other businesses, and this restaurant, this workspace – everything is available to anyone who wants to come in and hear the sound system. Honouring high quality sound and celebrating music is what we’re all about.”

Hawkins reflects on Flux’s introduction to K-array: “We got gripped with K-array at an ISE show some years ago when we were shown the tiny Lyzard speakers. We were blown away and realised that if we were picking up on these qualities then our customers would be too. So we installed them in a snug at our showroom in Vauxhall and we get the same big smile from clients who come in.

“With the success rate we had with Upstairs – and especially since our clients are very big on design – that was a key factor in going with K-array. I don’t think any other speakers could have sounded as good this and look so good. They look great high up and are still subtle.”

TECHNICAL INFORMATION

AUDIO

6

x K-array Python-KP52 Line Array

4 x K-array Python-KP102 Line Array

4 x K-array Thunder-KMT12P 12-inch passive subwoofer

1 x K-array Kommander-KA84 4-channel DSP amplifier

2 x K-array Kommander-KA24 4-channel DSP amplifier

www.bellefields.com www.k-array.com www.2b-heard.co.uk

K-array’s Python line array series are compact column speakers, hidden from sight but once the music starts, the audience will be surprised by its quality and astonished by its sound. Perfect for a variety of luxury interior and exterior projects where sound is essential.

JAN KOCHANOWSKI THEATRE

OPOLE / POLAND EMEA

DiGiCo, Shure, Meyer Sound and Optocore breathe new life into

historic theatre in rural Poland.

Situated in the Opole, midway between Wroclaw and Katowice in southwestern Poland, the Jan Kochanowski Theatre dates back to 1945, and in 2019 joined the prestigious European Theatre Convention group.

With four stages, the venue caters for all manner of productions, and to ensure the highest quality, venue management felt the need to upgrade its staging facilities in order to adapt to the needs of today’s viewers and creators.

Preparations for the modernisation of the building, which was built in 1975, and its technical infrastructure went on for several years, and as a result the sound systems of all four stages were improved, while the acoustics of the smallest stage were adjusted.

A fixed Meyer Sound PA was installed in the 600-seater Duża Scena, while the three smaller stages utilise a setup which is configurable from a mobile system of Meyer Sound loudspeakers.

The Modelatornia stage has 200 seats while the experimental Small Stage and the small-projects underground stage, known as The Bunkier, are smaller still. The installation across the venue was completed by Wroclaw based M.Ostrowski, in partnership with Polsound, in addition to other subcontractors and suppliers.

“The modernisation of the audio system of the Theatre in Opole was not an easy task,” said Pawel Francuz, Project Manager, M.Ostrowski. “The building is a huge facility with a complicated layout of rooms. This meant extensive cabling for the redundant open functionality which the project required.

“The highest-class audio solutions selected by the theatre were affected by global logistic problems and COVID-19 restrictions which took some aspects of the installation beyond our control. Ultimately, however, the task was completed, and we are glad that we were able to participate in it.”

After a series of thorough tests throughout the venue with various solutions available on the market, Meyer Sound was selected thanks to its consistent sonic and functional attributes.

The system in the Duża Scena features the first global installation of the ULTRA-X20 loudspeakers, with 12 units, including serial no.000001, used as part of the surround / fx system. The main line array is based on a Meyer Sound LINA set up, with distributed effect and fill source points based on the whole range of active speakers.

This is optimised with two Galileo GALAXY 816 DSP matrix processors using the innovative Low-Mid-Beam Control (LMBC) technology, so each of the loudspeakers is independently controlled. Additional GALAXY processors are used for all other active speaker configurations, on all stages, plus three mobile point source sets for creative effects and smaller events. This makes it possible to create immersive sound and spatial effects using the intuitive, free Spacemap Go iPad application.

“During the first listening session to the system, I was very impressed with the precise coverage of the entire audience, because the system sounded the same in every place, was full of transparent, selective and pleasant sound,” said Robert Kondziela, Technical and Commercial Specialist, Polsound. “We knew then that the purchase of the Meyer Sound system was the best choice.”

For an audience to be immersed in performance, the personal microphone on actors requires a wireless system capable of covering a large dynamic range, and it must meet RF spectrum restrictions. When it came to selecting the Shure Axient Digital wireless system for the venue, the key points to consider were sound quality, exceptional dynamic range, spectral efficiency, and unique functionality.

Forty microphone channels with exchangeable AD1 bodypack and AD2 handheld transmitters are available for all four stages, with precise RF coverage in all areas.

Analogue and digital signal (Dante) distribution makes this system ideal for the multistage universal configurations required. An eight-channel Shure PSM1000 mobile rack is used where IEM monitoring is needed.

The choice of mixers across the theatre was also a priority, with a DiGiCo system implemented, and the digital transmission of audio signals was based on an Optocore fibre

optic network protocol, which operates in a star topology, independently for each stage, so that it is possible to combine signals between each location in the theatre. This is also facilitated by the additional, redundant Dante network which operates simultaneously on the premises.

The Duża Scena is equipped with a DiGiCo SD10-24T console, which allows mixing as many as 144 input channels, and it can be supplemented with a second console – DiGiCo SD9T, which is usually part of the Modelatornia stage.

There are three DiGiCo SD11 consoles at the technicians’ disposal – one has a permanent place in the control room of the Small Stage, another one functions within the stage in The Bunkier, and the third performs additional tasks in any of the theatre spaces, including streaming and recording.

These consoles receive signals from two large DiGiCo SDRack stage racks with Optocore interfaces which receive and transmit signals from and two stage connections, and receive signals from the Shure Axient Digital wireless systems. Six smaller DiGiCo SD-MINIRACK stage racks are used as mobile input boxes, while four bi-directional DiGiCo Orange Box converters, permanently installed within each stage, create a bridge between the Optocore and Dante networks. All consoles and stage racks are equipped with Optocore fibre interfaces, which enable two-way transmission of a total of 2,048 audio channels with almost negligible latency.

“The DiGiCo mixing system was chosen due to the enormous possibilities offered by these devices in the field of audio signals distribution via the Optocore fibre optic network,” said Kondziela. “There are practically unlimited possibilities of integrating DiGiCo devices with devices from other manufacturers, with expansion options for DiGiCo systems including integration with Waves, Klang: Technologies,

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integration with immersive sound systems, Dante network and many others.

“On the premises of the facility, in every space, we have access to all Dante network signals, and fibre-optic networks function autonomously on each of the stages. When there is a need to connect (in any configuration) individual fibre-optic networks with each other, the dedicated auto router takes over the implementation of this function.

“We have found out many times that it was a good investment, because even the most difficult performances can be operated with one button that triggers subsequent setups. At the same time adapting the spectacle in a different space is much easier, which is especially important in the case of away performances, and the cast changes are very easily implemented and adjusted in a very short time.”

For Norbert Rakowski, General and Artistic Director of the Jan Kochanowski Theatre, the results of the installation speak for themselves.

“I have visited a lot of theatres in Poland and abroad, and I have not yet met such a producer or director who would not care about the best equipment for their stage,” said Rakowski. “They are all about the same – present the true vision of the spectacle – with the utmost care and quality.

“When we were first introduced to these Meyer Sound, DiGiCo and Shure systems, my thoughts went back to the 1980s, when as a young boy I heard music from a CD player for the first time. The difference between this and vinyl was so colossal that I was then convinced that I would never go back to the analogue record.

“It’s not about comparing media, but about sensory impressions and a qualitative leap. The scale of the capabilities of these devices is incredible and I am not certain if we are able to fully use the potential of the system, and certainly not in every theatre production.

“The number of advantages, such as the selectivity of the sound, the scale of configuration possibilities convinced me immediately that it would be an excellent and, above all, future-proof investment for our theatre.”

TECHNICAL INFORMATION

AUDIO:

Duża Scena Stage: 22 x Meyer Sound LINA (LR configuration) 4 x Meyer Sound 900-LFC (central) 2 x Meyer Sound UPQ-1D (as Infill) 12 x Meyer Sound ULTRA-X20 (as a surround / fx system) 4 x Meyer Sound ULTRA-X40 (mounted within the stage) 2 x Meyer Sound Galaxy 816 1 x DiGiCo SD10-24T 1 x Optocore AutoRouter 20x20 1 x Optocore DD32R 1 x Optocore X6R

Mobile Sound System: 2 x Meyer Sound ULTRA-X40 4 x Meyer Sound UPJ-1P 2 x Meyer Sound UPA-1P 4 x Meyer Sound UPA-2P 2 x Meyer Sound UPM-1P 4 x Meyer Sound 900-LFC 4 x Meyer Sound 750-LFC 4 x Meyer Sound MJF-208 1 x Meyer Sound Galaxy 816 1 x Meyer Sound Galaxy 408 1 x DiGiCo SD-9T (Modelatornia Stage) 1 x DiGiCo SD11 (Small Stage) 1 x DiGiCo SD11 (The Bunkier Stage)

DiGiCo SD11 (mobile) 1

Optocore AutoRouter 15x15 (Modelatornia Stage), 1

Optocore AutoRouter 10x10 (Small Stage),

Optocore AutoRouter 5x5 (Bunker Stage ) 4

DiGiCo OrangeBox (one on each stage of the theatre)

IEM Shure Psm1000 (mobile)

Shure Axient Digital channels (fixed, Main Stage)

Shure Axient Digital channels (fixed, Modelatornia Stage)

Shure Axient Digital channels (fixed, Small Stage)

Shure Axient Digital channels (fixed, The Bunkier Stage)

Above: Robert Kondziela, Technical and Commercial Specialist, Polsound (left), and Konrad Stempień, Coordinator of the acoustics department, Jan Kochanowski Theatre.

You’ve heard us amplify with perfect clarity. You’ve heard us in standing ovations. You’ve even felt us, in the standing hair on your arms. And now, get ready to experience all the ways we deliver honest sound. meyersound.com

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SCHOOL OF DIGITAL ARTS – MANCHESTER METROPOLITAN UNIVERSITY

EMEA

MANCHESTER / ENGLAND

Over 8,000 LED dots form a customisable welcome to new University building in the heart of Manchester’s student district.

In a city famous for innovation and creativity, Manchester Metropolitan University’s purpose-built, state-of-the-art School of Digital Arts (SODA) building, designed by Feilden Clegg Bradley Studios, embraces the creative talent in the city. Designed for the present, but with the ability to adapt to technological advances in the future, SODA’s four storey digital media façade boldly announces its status in the city. Using leading products, the Studiotech team worked together to come up with the most impactful and expressive solution, supplying and installing 8,059 individually addressable Traxon Archishape 2.0 dots, controlled by e:cue control system.

The SODA façade has many advanced features such as video to light pixel mapping, video import and visual automation tools. With in-house training provided by Studiotech, the team at SODA have the ability to upload their own content, and they can pass on this knowledge to the students and allow them to showcase their creativity in the form of artwork and animation, adorning the façade in lights.

“The success of the installation was largely down to careful planning and effective coordination between all associated trades,” said Ed Vickery, Director, Studiotech. “In terms of practicalities, we completed quite a large amount of work off

site in our warehouse. We got a total of 132 large (typically max sheet size of 3,000mm by 2,000mm) powder-coated aluminium sheets produced with laser-cut holes to allow the nodes to be installed within the cut holes.

“We got the LED dots manufactured on specific strings to allow each panel to have its own string of LEDs. It was quite a time-consuming process but it made logistics and installation far easier to have each panel as its own independent element.”

The installation took around 10 weeks in total, with two weeks off site to give the dots their DMX address and mount them into the panels, then around eight weeks on site with a team of four people.

“The installation ran really smoothly,” said Vickery. “The teams from Dodd Group and Kier did their elements to such a high standard that it made our installation as easy as something on this scale can be.

“Of course, there were challenges as there are on any project. Perhaps one challenge was having to have all power supplies installed internally for ease of access. For future maintenance reasons, we collectively decided to install all of the power and control components internally. This meant we had quite long runs of power and data that all needed to be connected to the correct devices.

“Another challenge was logistics. Because there were so many large sheets, we fabricated some stillages that allowed us to reduce the space required and keep the lighting and associated cable protected from damage. We then transported them on these stillages and this allowed the large and cumbersome panels to be moved around with much greater ease.”

In terms of energy usage, based on typical light usage in media solutions being at around 25-30% of the total potential output, Studiotech estimates that the media façade at SODA has a total annual energy consumption of 9,580 kWh per year. This total is a similar energy usage to the average electric car that travels around 25,000 miles per annum. The total power used by all of the lights adds up to about 16kW, although they should never use this much power as this would mean the screen is all on white at full brightness. As the screen runs animation and video, a more realistic figure would be a third of this, or less, which is comparable to the power used by two kettles.

“It has been a great honour to support the SODA development and Manchester’s future creative and digital industry,” concluded Vickery. “We couldn’t have asked to leave the façade in more capable and creative hands than we have with the team and the students at SODA. We can’t wait to see future artwork showcased on the building.” www.studiotech.co.uk

This project is an example of what is suitable for the new ‘Transport and Built Environment’ category for the 2023 MONDO-DR Awards.

NIGHTSCAPE

NASHVILLE / USA AMERICAS

One of Nashville’s most notable venues has been given a new purpose as experiential production and creative services company Nightscape has moved in to create a space which changes the perception of what is physically and digitally possible in an entertainment setting.

With a selection of projectors from Epson, real-time content created in Unreal Engine powered by disguise media servers, and an audio system made up of d&b audiotechnik loudspeakers, which is enhanced using Spatial software, Nightscape is a venue that can offer a dynamic range of modular creative solutions.

The former location for 12th & Porter, which had hosted performances by the likes of Neil Young, Kings of Leon, Run-DMC and Townes Van Zandt, is laid out in two rooms, with a mix of technology in both.

Nightscape CEO Mike Weinberg said that the inspiration for his entrance into the world of immersive entertainment came because he often felt something lacking in pre-existing examples.

“I have tremendous respect for everyone who is currently pioneering this concept of entertainment spaces, but I thought there was an iteration that could bring components together to truly create something special,” said Weinberg. “So, I figured out the multi-sensory aspect, not just having the visual elements, but the audio being spatialised, bringing in scents, and creating a killer bar menu with exciting food and drinks concepts.

“It was about the whole package. And for Nightscape, I really wanted the walls and projection to be a catalyst for what you do inside the space.”

Weinberg leant on his CTO, Kevin Longwell, for his knowledge of what technology to utilise, in addition to Clair Global, the AV integrators and partners. “It was around December 2020 when Kevin told me that we were pivoting to real-time content, and that changed everything because the scope of how we would deploy

Immersive event space redefines multisensory experiences with the help of leading technology partners.

the content in the venue became very different,” said Weinberg. “It was no longer media playback of a looping video – instead it was the real-time rendering of what was happening, live.”

With content created in Unreal Engine, Longwell knew how to bring this to life inside the venue.

“Kevin recommended disguise as the ‘go-to’ for show control, giving us the ability to take the Unreal world and display it in the venue,” continued Weinberg. “Once we did that, we started working with Clair Global on the integration, and we discussed different manufacturers. We landed on Epson as a great option for our projection, so we tested some models and decided to go with them.”

In the main event space, 10 Epson Pro L1490U projectors are set up to map the walls while four Epson EB-PU10008B projectors illuminate the ceiling and three Epson EBPU2010W above the ceiling project down onto optional dining tables.

The Lounge area, where visitors enter to mingle and sample a drink at the bar, has four additional Epson EBPU1008B projectors pointing at two perpendicular walls, while four Samsung 4K Frame Displays are mounted on an adjacent wall behind the main bar creating a secondary immersive space.

“disguise was absolutely crucial to the success of our project as the turnkey solution for taking our highly

complex real-time visuals and projecting them in the space,” said Longwell.

With the visual technology in place, the attention turned to the audio system. “We had some different sound systems spec’d for the venue, but ultimately when we moved to spatialised audio it became evident that d&b DS100 would be the best option for hardware,” said Weinberg.

“And through a happy accident during our discovery, we stumbled upon Spatial, who produces cutting-edge spatial audio software – so we brought them in to help sync directly with Unreal Engine, which was our top priority.”

For designing the functionality of the venue, the expertise of 4Wall Virtual Production was enlisted as they worked alongside Longwell and his team on the digital model of the project.

The specification for the lighting, which includes controllable and programmable pixel strips throughout the whole venue, was produced by Clair Global. Zack Boyd was the system designer for Clair Global on the project.

“Clair specified the lighting and control, and designed the custom channel and diffusion system to meet Remick Architecture’s vision for the space,” he said. “We utilised VividRGB’s Chip6X Product, driven by custom drivers provided by VividRGB, and mapped using ETC Mosaic. All of that is eventually driven directly from an output of disguise so the creative team can easily incorporate it

into each show. Nightscape’s team specified the requirements for show playback and the overall vision, and Clair Global worked closely with them to design a holistic technology solution that fit their needs and budget. And being that Nightscape is a constantly evolving venue, a lot of attention was paid to the flexibility of the space, as well as the ability to update and refresh shows/content remotely. We leveraged Clair’s Data Service division to ensure we had a network and infrastructure that supported this need.” When it comes to controlling the projectors, cable boxes, lighting and sound, Crestron hardware and software is used as the venue’s control hub. With the technology in place, it allows the Nightscape creative team to imagine and deliver any setting they like to the space.

One of the first experiences they offered was ‘TASTE, A Culinary Series: Italian Villa’, where guests entered the lounge and were presented with an outdoor scene of a vineyard with a castle in the distance. From here visitors then walked into the main event space where the walls were mapped as the inside of the castle and guests took their place at the assembled table and chairs for their food.

“It works so that the first room is a teaser,” said Weinberg. “There are a few projectors in there and nice mood lighting, but you really get the ‘wow’ factor when you walk into the main space. And so we try to utilise them in that way - to find creative ways to use the lounge room as a multi-faceted tool of entry, excitement, teasing or congregation, and then the main room is really where the special event is held.”

With a permanent set-up in the heart of Nashville, Weinberg admits there aren’t yet plans to take the Nightscape experience to other permanent locations across the United States, but he knows full well that when the time comes, he has the ideal blueprint in place.

TECHNICAL INFORMATION

PROJECTION / VIDEO

disguise Deployment (Realtime Rendering Servers): 3 x VX2 Video Servers

4 x RX2 Real-time Uncompressed Video Renderers 100GB/s Mellonox Network Switch

Main Event Space

10 x Epson Pro L1490U – 1080p 9000 lumen Wall Projectors w/ Short Throw Lens

4 x Epson EB-PU10008B – 1080p 8500 lumen Ceiling Projectors w/ Ultra Short Throw Lens

3 x Epson EB-PU2010W – 1080p 10,000 lumen Table Projectors w/ Short Throw Lens

Lounge

4 x Epson EB-PU1008B – 1080p 8500 lumen Wall Projectors

4 x Samsung 4K Frame TVs

AUDIO

Main Event Space

4 x d&b audiotechnik 10S loudspeaker

7x d&b audiotechnik 8S loudspeaker 10 x d&b audiotechnik 5S loudspeaker 2 x d&b audiotechnik 18A subwoofer

Lounge

4 x d&b audiotechnik 10S loudspeaker

6x d&b audiotechnik 8S loudspeaker

1 x d&b audiotechnik 18A subwoofer

Mac Based 3D Spatial Inc. Audio Software Wireless Shure ULXD Microphones

Modular

2 x d&b audiotechnik V10P Mains

2 x d&b audiotechnik VSUB Subs

1 x Yamaha QL1 Audio Console

1 x Yamaha Rio1608-D Input Rack

LIGHTING

2000+ Customizable VividRGB Chip6X Pixels ETC Mosaic DMX controller

CONTROL

Crestron PRO4 Control System – Wireless Audio / Video / Lighting control via iPad app www.www.explorenightscape.com

Previous page: The ‘Lounge’ area.

Left: The layout for ‘TASTE’, A Culinary Series: Italian Villa. (Photo by Kylie Rebecca)

HARBOURFRONT CENTRE THEATRE

TORONTO / CANADA AMERICAS

Historic multi-use theatre in Toronto’s waterfront park receives an audio upgrade with a flexible L-Acoustics A15 system.

The Harbourfront Centre Theatre in Toronto caters for all manner of performances. Top musical artists such as Celine Dion have graced the stage as well as leading theatrical productions, and now the room has a cuttingedge, flexible sound system which can cover all bases after an L-Acoustics A15 system was installed by Solotech.

The system was designed by Toronto-based Engineering Harmonics and required flexibility because the venue can be transformed into various seating configurations, from its default 350-seat proscenium setup to a maximum in-the-round capacity of 422 seats, with two balcony levels and three lobbies. The new PA typically comprises 19 L-Acoustics A Series enclosures arranged in a flown LCR configuration, with seven A15 Focus on the left and right arrays and four A15 Focus over one A15 Wide in the centre. Six SB18m subs are hung three per side, behind the arrays.

Four coaxial X8 are spread out across the stage lip as front-fills, while an A15 Wide atop a KS21 sub on each side of the stage provide deck-fill and additional LF reinforcement.

A total of 30 ultra-compact 5XT deliver side-fill coverage to all three levels of seating, while a single, centrally-hung A15 Wide provides upper-balcony delay fill. Eight LA4X amplified controllers power the main arrays, with four LA2Xi for the side/balcony-fill speakers.

“Prior to this new set up the house system in the theatre was always rented to the specification of the project,” said Paul Tytaneck, Director, Special Projects, Solotech. “The room is for multiple uses – from loud amplified concerts to quieter dramatic performances, so this is not just one hang for the line arrays, there are probably around a dozen pre-sets.

“The rigging element is unique. It’s on an I-beam sliding system. The left and right line arrays can slide on the I beam, depending on the application – it can go forward or back, so it offers flexibility.

“The balcony fills are fixed, but the line arrays and delays can all move around. The trussing was already in the venue, but the I-beam configuration was something that Solotech installed.”

Not only does the physical attributes of the system offer a flexible solution, but so does the technical capability of the L-Acoustics speakers.

“The way that Engineering Harmonics Senior Consultant and Partner Martin Van Dijk approaches projects like this is to have multiple uses,” continued Tytaneck. “And so this is why they went with L-Acoustics because they offer a broad spectrum when it comes to coverage of the audience.”

The theatre is an acoustically challenging space as it is narrow and vulnerable to reflections and echoes, so the system had to accommodate

asymmetrical speaker placements. “It’s a very tight shoebox theater and it needs to serve a lot of different functions, so the sound system had to be very flexible,” said Harbourtown Centre Theatre Director of Production Jamie Rodriguez. “We needed a speaker with asymmetrical geometry, with the ability to focus on how the flexible seating can be configured here, and the A15 is literally the only speaker on the market that can do that.”

Geometrical Challenge

Van Dijk noted that the venue’s geometry was its main design and installation challenge, in terms of finding a sound system that could address both its acoustical and program needs.

“It’s narrow but also very tall, with balconies around the perimeters, and the seating is configurable, with the lower part sometimes standing-room, sometimes raked seating,” explained Van Dijk. “Depending upon the program, you might have audience standing in the balcony perimeters that could get hit with a lot of sound, which was necessary in order to reach all of the seated audience members.

“However, when no one was in those spaces, the energy would hit the brick walls behind them and cause unwanted reflections,” he continued. “It was a challenge, but the A15’s Panflex asymmetrical capability is what gave us the means to address that. It’s a very narrow space, so having something that was 70 degrees horizontal was critical to preserve intelligibility in the space and reduce disruptive reflections off side walls.

“The full-range capability of the A15 meant we could achieve the desired amount of low end for certain events without needing subs. Additionally, while the entire system can be moved up or down stage, the system’s center cluster can also be used unilaterally for events such as spoken word.

“They can drop the left and right clusters and change the profile of the system, which can really open up the stage area. That same flexibility, the ability to move different parts of the system to different parts of the room near the stage, will be useful if the venue ever decides to add immersive sound, such as the L-Acoustics L-ISA system.”

For Tytaneck and his team at Solotech, the project was a job well done as the venue now features a sound system it so richly deserves. “It was a very successful project in terms of the implementation and install,” he said. “And the sound is spectacular, which is the ultimate goal.”

www.l-acoustics.com www.solotech.com

AUSTRALIAN CHAMBER ORCHESTRA

SYDNEY / AUSTRALIA APAC

Stunning new home for world-renowned orchestra kitted out with industry-leading technology to ensure acoustic excellence.

Photos by: Belinda Rolland unless stated.

After more than 20 years housed in an underground headquarters, the Australian Chamber Orchestra (ACO) has re-emerged in a vibrant new facility inside the recently redeveloped Pier 2/3 on the Walsh Bay Arts Precinct, which overlooks the Sydney waterfront.

The $371.3 million Walsh Bay Arts Precinct was funded by the NSW Government, and the ACO fit-out was jointly funded by the NSW Government and the ACO. The new home, which features a selection of functioning spaces, is designed to provide the in-house artists and hirers a creative and contemporary environment to conceive and deliver diverse and inclusive programmes –venues to rehearse, perform and showcase the ACO’s work, and to support the work of multi-art form projects from artists and community members of all ages and abilities. Having a public-facing home has been a long-held dream of the ACO and has been championed by its Chairman, Guido Belgiorno-Nettis AM for over 25 years. Earlier this year that dream became reality thanks to a collaborative effort from the NSW Government, the ACO and its theatre planning advisors Theatreplan, Arup, Tonkin Zulaikha Greer architects, Richard Crookes Constructions, Saber, and AV integrators Fredon Technology.

ACO Chief Operating Officer Alexandra Cameron-Fraser, notes that: “The development of the ACO’s new home at Pier 2/3 has been a once-in-a-lifetime project for the ACO and we have had a tremendous team of supporters and advisors who have been with us every step of the way, and to whom we will be forever grateful.”

The most eye-catching and technologically diverse room in the ACO’s new facility is The Neilson, an intimate and

flexible acoustically designed performance venue that seats 275 people (in a range of configurations) for classical, other acoustic and amplified music performances, rehearsals, recordings, talks, film screenings and other events. Also on site is The Studio, a light-filled glass-walled space for music rehearsal, workshops, recordings, masterclasses and presentations, as well as talks and cocktail events for up to 80 people. The Belgiorno Room is an event space at the northern most point of the Pier and can accommodate up to 230 guests in different formats, while there is also a media suite and an acoustically treated green room, and office space for the ACO’s Administration.

“The ACO relies on income from commercial and notfor-profit hirers of our venues on Pier 2/3 as part of our ongoing financial viability. Having venues that are designed for this potential in terms of flexibility of use, acoustic separation, circulation and security was a key design principle,” said Cameron-Fraser.

Design consultancy Saber were responsible for the contractor design element and delivery of the audio visual, communications, lighting and theatre machinery systems for the venue. “Architecturally, it’s a beautiful space,” said Bosco Tan, Executive Director – Technology & Operations. “We supported the project all the way through, from design right through to testing and commissioning, and we were always available to go on site to assist the AV integrator understand the functional requirements of an entertainment space.”

The Neilson features an Active Architecture System, which was designed by Yamaha in coordination with Arup Acoustics, as well as the ACO and its acoustic advisor

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Raf Orlowski and the project architects Tonkin Zulaikha Greer. It was installed to enhance the naturally occurring early sound characteristics that occur within the room. There are 16 Schoeps CMC 6/MK4 microphones installed in the ceiling on Servoreeler SRL-20R winches, controlled by one REDCO MCS-2 controller. The mics connect to a Dante audio interface which provide network based signal transport to the Active Architecture processor and associated Audio DSPs. All processing of the captured sound is handled by the Active Architecture processor and Audio DSPs. Audio signal is then transported via Dante audio over the network to amplifiers which then drive speakers installed at key locations on the venue’s balcony front, balcony ceiling, auditorium ceiling and upper ceiling. There are over 60 Yamaha speakers in the room, with many of them concealed behind brass grills out of immediate view.

“The Yamaha speakers are distributed on almost every surface, but the challenge of integration of technology in spaces like this is how to make it seamless and elegant,” said Tan. “You don’t want to see speakers everywhere, so on the ceiling they are hung above the timber trusses, but around the balconies the speakers are behind the brass grills, keeping them out of view, while the subs are hung from the ceiling.”

In addition to the Active Architecture System there is a FOH speaker system made up of d&b point source speakers and d&b 30D amplifiers. In some instances, the Active Architecture System will be used to complement the FOH sound system for amplified events and performances. The FOH system was designed by Theatreplan to be a full range point source system, instead of a line array system, so that the speakers remain visually unobtrusive.

“The d&b subs are hung in the ceiling truss area, and then there are the FOH fills and delays which are positioned on the lighting bars,” said Tan. “They are also quite discreet, and they should be, because this venue is by its nature multipurpose. They could have orchestral performances, a talk or a film screening, so it was about putting in the technology to support this, but also make it as invisible as possible.”

The control room features a Yamaha CL1 console and Yamaha RIO 3224 audio stage box, while a pair of Genelec 8010A studio monitors provide monitoring from the desk. An RF based assistive dual channel listening system, comprised of myriad Sennheiser equipment is installed and

meets BCA requirements, while a Shure wireless microphone system offers flexibility when presentations and events are held in the space. “Choosing the technology is a combination of the client’s comfort factor and what their operators use and are comfortable with,” said Tan of the decision to lean on certain manufactures. “And we considered the fact that there is sometimes the hiring of additional technology to complement what is installed.”

One Sony BRC-H900 Full HD PTZ studio camera is installed at the rear of the venue at a high level, while a Panasonic PT-RZ21KU with ET-D3LES20 lens is mounted in a custom enclosure, suspended from a custom lifter, for the showing of films. This is pointed at a 225” Screen Technics 0622529-D screen, which is drop down motorised.

All-in-one Solution

Both the screen and projector are controlled by a QSC control system, which also controls the system-wide public address system. A QSC TSC116w-G2 11in network touch panel is the main user interface for the various audio and video systems within the venue, including any system and room configuration recall and setups.

For the public address system, the QSC Q-Sys QLAN network based audio protocol features AC-C4T ceiling speakers and AD-P6T pendant speakers, powered by a number of CX8.4Qn audio amplifiers, while the paging stations in the bar and reception each consist of 1 Audio Technica ATND8677 Dante gooseneck microphone and 1 QSC TSC-80W-G2 touch panel control interface.

“The decision for using the QSC system was its capabilities,” said Tan. “Firstly, the kind of all-in-one solution that could do paging and control, and being able to leverage that efficiently and do everything in one box is always a plus.

“It handles all the DSP processing and the paging modules, and each space within the ACO has its own control system with touch panels.

“For a situation where a screening is required you can hit a button and the screen will come down and the projector will come down, and you can select your sources,” he continued. “That’s great for things like talks and seminars for when they hire the space out. Then you can change it into what we call advanced user mode, where you can patch anything

you like – audio and video. So there was a requirement to satisfy multiple scenarios of setups.”

For the purpose of showing relay video, Five Blackmagic Designs SDI-HDMI 6G, three Samsung QBR13R and two Samsung QM32R screens are installed at various locations around the venue, while a production communications system has been installed for two-way audio communications between stage managers, performers, and technical staff.

Consisting of a Clear-com Free Speak II base station, two Clearcom Free Speak II five way splitters, 10 Clear-com Free Speak II transceivers, four Clear-com Free Speak II belt packs and four Sennheiser SC 260 ATC/C3 headsets, the system is both wired and wireless, which can be interconnected via four Wire interface and operated as a single system of used as separate discrete systems. A Clear-Com HMS-4X Helix Master station in the ACO Rack Room; Stage management desk; Media Suite and control room makes up the wired production communications setup, which is connected via LAN.

“Creating a home for the ACO and a music performance and recording space within the spatial constraints of a heritage pier, over Sydney Harbour, next to the Harbour Bridge, was a very particular brief for the design and construction teams,” said Cameron-Fraser. “Every aspect of our performance and rehearsal spaces was carefully designed to create a rich musical experience, and on the ACO’s first day of acoustic testing in The Neilson, we had many of our musicians and staff in tears of joy and wonder after the Orchestra played their first few notes.

“After such a long journey to get to this point, we had to pinch ourselves that we were here and that it sounded so amazing – and we are still pinching ourselves. We have had consistently positive feedback from audiences, ACO musicians, and guest artists and ensembles who have rehearsed and performed in The Neilson. “Given the unique nature and particular design of our new home, it has a special place in the heart for all who have worked on it.”

Previous Page: The Studio at the Australian Chamber Orchestra’s new location in Pier 2/3 at the Walsh Bay Arts Precinct.

Left: A talk held in the Belgiorno Room (Photo by Maria Boyadgis).

TECHNICAL INFORMATION

THE NEILSON

16 x Schoeps CMC 6/MK4 microphones

12 x Servoreeler SRL-20R microphone winches

1 x REDCO MCS-2 controller

1 x Yamaha MCP-1 controller

1 x AMX PS-POE-AF-TC power supply

1 x Yamaha DCP-4S controller

1 x Yamaha AFC4-DSP active field control processor with SK-AFC402 software license

2 x Yamaha AIC128-D Dante accelerator card

2 x Yamaha MRX7-D audio DSP’s

2 x Yamaha RIO3224-D2 digital stage box

4 x Yamaha SWP1-16MMF network switch

11 x Yamaha XMV8280-D power amplifiers

24 x Yamaha IF2205 speaker

27 x Yamaha VXS8 speakers

20 x Yamaha VXS5 speakers

8 x Yamaha IS1118 speakers

1 x Yamaha CL1 audio mixing console

1 x Yamaha RIO 3224 audio stage box

2 x Genelec 8010A studio monitors

2 x d&b audiotechnik Vi10P point source speakers

8 x d&b audiotechnik E8 point source speakers

4 x d&b audiotechnik Vi-Sub subwoofer speakers

6 x d&b audiotechnik M6 monitor speakers

4 x d&b audiotechnik 30D amplifiers

1 x Focusrite Rednet D16R Dante to AES interface

1 x Sennheiser SR 2050 XP RF transmitter

1 x Sennheiser A1031-U Passive Wideband Antenna

20 x Sennheiser EK 1039-BW Body pack receiver

20 x Sennheiser BA2015 rechargeable battery packs

20 x Sennheiser HP 02 Headphones

2 x Sennheiser L 1039-10 Charging bay

2 x Sennheiser EZT 3012 Neck loops

1 x Shure AD4QA Four channel digital wireless receiver

2 x Shure UA860SWB Passive omnidirectional antenna

2 x Shure AD2/KSM9HS Handheld wireless microphone

2 x Shure AD1/H54 Bodypack transmitter

2 x Shure WL185 Lavalier Microphone

4 x Shure SB-900A Rechargeable battery pack

2 x Shure SBC-200 Battery charger

1 x Panasonic PT-RZ21KU projector with ET-D3LES20 lens

KING STREET NEWCASTLE

Adamson speakers give popular Newcastle nightclub

a timely audio boost.

As it became more and more apparent that the speakers at dance music hotspot King Street Newcastle couldn’t handle what was being put through them, the owners knew they could not put off replacing them for much longer. Wanting a premium level replacement, All AV Tech Services (formerly Key Player Productions), an audio-visual company specialising in installation, repair, and service for the majority of the town’s nightclubs, were on hand to suggest a selection of Adamson boxes.

After some brief – and eventful – testing, two Is10p boxes were hung either side of the DJ booth and four A218 subs placed underneath the newly-built booth to more than satisfy the needs of the small, 300 capacity room.

“The PA had been in there for a long time, and it had been given a new life with some new amplifiers, but recently it has copped a bit more of a flog as some younger DJs have come in and really put it to work with new music which has heaps of sharp highs and massive bottom

end,” said Peter Wohlrab, All AV Tech Services. “It wasn’t really cutting it, and we were losing some drivers. The owners then admitted that it was time, and so this is a totally new sound system. “The venue owners came to me and said they wanted a premium audio system, so I put the specification together for an Adamson set-up. This was vetted by some friends of theirs who work at production companies and they said it’s great equipment - it sold itself. They asked for a premium audio brand and we delivered, and they’ve been super happy.”

When it came to adding the subs to the room, the DJ booth needed to be rebuilt in order to accommodate them. “The whole front-end of the building was refurbished,” said Wohlrab. “The DJ booth is almost as wide as the room, we completely rebuilt that. We cut it out and raised that floor up a fraction so we could slide four of the A218 subs under there.”

Given the compact nature of the hung Is10p speakers, the sightlines in the room have

improved dramatically, so the next job for All AV Tech Services is to increase the size of the LED screen behind the DJs.

“There used to be an amp rack which was floor-to-ceiling, and we needed to cut that out,” said Wohlrab. “Now we can extend the screen in front and behind the booth because the sightline is so much better. The next time we’re due to do some work on the room we’ll do that, and make the screen larger.”

The hanging loudspeakers are powered by a Lab-Gruppen D120:4L amplifier, while a LabGruppen D200:4L powers the four subs. The testing process, according to Wohlrab, certainly caused a stir with the venue staff.

“When we ran some tests from the control room, I basically told everyone to grab everything they could see,” he laughed.

“There’s a grandMA lighting console and a bunch of other gear for the lighting and vision systems, and I said grab it. I turned it up 10db on the processing software, and if they hadn’t have grabbed the stuff it would have hit the floor. And I could barely turn it back down because I couldn’t get the mouse flat on the table. It was the strongest thing I’d felt in a nightclub for a very long time.” Wohlrab was confident that the system would be a hit,

and his feelings were affirmed after receiving feedback from both the venue and DJs that have performed there.

“We’ve had touring DJs come through and word of mouth has travelled – and other venue owners have been asking what’s been put up there, so there’s been some good traction,” said Wohlrab. “This isn’t a big system with a huge number of boxes, but it just sounds so good that I don’t think it needs that many.” With the two Is10p boxes up front, there was one left over after the testing process, and that was used to cover a gap in coverage midway down the room.

“We had one cs10p which we used for the demo, and that was the box that convinced the venue this was the system for the room,” continued Wohlrab. “We found a hole that we weren’t initially looking at covering, but the owners said ‘let’s cover it!’. It was over to one side of the dancefloor, and that’s where we put the cs10p.

“Overall, it wasn’t a difficult job. We had the cabling already there from the last system, so we just hung some tops, put some subs under the stage, loaded the Adamson profile and away it went. These products have ticked – and exceeded – the boxes for this venue.”

Change is not evident,

RESULTS ARE.

CALI BEACH

APAC

GOLD COAST / AUSTRALIA

Australia’s first beachside rooftop precinct opens in Gold Coast.

Unlike any venue in Australia, Cali Beach is an entertainment destination which sits four storeys above street level and stretches out over 5,000 sq m of roof-top real estate. With a stunning view over Surfers Paradise beach and a vista of the town’s skyline, the venue has been kitted out with an extensive AV system by integrators The Prestige Group.

VuePix Infiled LED screens, Acme Lighting fixtures and DJpower stage effects form the basis of the setup at the venue, which features multiple pools, luxe poolside cabanas, numerous dining and bar areas, an outdoor cinema and a beach volleyball court.

“Our aim was to deliver a luxury hospitality experience that will surpass anything currently available in Australia,” said Managing Partner of Artesian Hospitality, Matthew Keegan.

“Given its scale, Cali Beach was a significant investment for our group, with development taking just under a year and costing almost $10 million. it’s a landmark venue for all of Australia that epitomises our commitment to creating unique experiences which exceeded all expectations.”

AV Integrators The Prestige Group have a longstanding relationship with Artesian, and they were engaged to

deliver a first class AV system for the luxurious beach precinct. “The brief was pretty much: ‘we’re building this, make it work’,” said Nathan Wright, General Manager, The Prestige Group.

Video plays a central role at the Cali Beach entertainment precinct and Keegan was keen to get the best bang for his buck.

“LED screens have become critical to incorporating all the aspects of the venue,” explained Keegan. “As venues get larger, not everyone can see the DJ or the act, and you need to make that content available to multiple locations. It’s an indispensable complement to the sound and when those things work together in harmony, that’s what really provides the vibe people are after.”

A 3m by 2m VuePix Infiled GX Series screen with 3.9mm pixel pitch has been installed in a portrait orientation at the DJ booth, providing the perfect visual platform for the top DJs.

“We have ArKaos Media Master on hand for DJs and VJs, and we have free-to-air TV and Nightlife available as sources when required. We’re soon going to add NDI sources so anyone can plug in to the network and move video around,” said Wright.

A 10m by 1m MV 5.9mm LED screen is set up facing the pool area and streams the content in sync with the DJ screen, enhancing the vibe, but for a beachside, outdoor venue, the technical requirements for LED screens to perform in sunlight, all weather and salt air, are more complex.

ULA Group’s Managing Director Con Biviano explained the selection process. “With top-class venues, installation partners like The Prestige Group will sit down with us as the manufacturer and we’ll map out the project together,” he said. “For this application, where you’ve got an abundance of sunlight and swirling wind conditions, we selected IP-rated products from the VuePix Infiled MV and GX ranges. Whether it’s a sunny 35°C day, a chilly 10°C night or a cloudy, rainy afternoon, the screens are able to adjust to those circumstances so the customers can enjoy the same first-class experience.”

Twelve Acme CETUS IP65 rated moving lights provide the main lighting element for the venue, lighting up the sky with powerful beams at night and creating atmosphere around the pool and

Poseidon Beam

Poseidon wash xs

Poseidon wash xl

Poseidon HYBRID

Poseidon ip65 series.

dancefloor. Dotted around the venue are 32 Acme StagePAR Colour IP66 rated static fixtures, used to highlight the décor of the venue during both day and night.

“There are two DJpower CO2 jets, five fog machines, and six flame machines,” confirmed Wright. “These are being used for special effects during choreographed shows and DJ performances, as well as being fired up for special occasions and celebrations happening at the venue.

“We chose VuePix Infiled LED panels for all screens within the venue because of their outdoor reliability and local support from distributors ULA Group,” continued Wright. “They have performed flawlessly.

“We’ve got a NovaStar H-2 processor that’s dealing with all the splicing and the video processing aspects. But once again, turn it on, do a configuration and ‘job done’.

“We have a long relationship with the ULA team and a great experience with VuePix product reliability and support. Considerations like availability of parts and adherence to warranty are absolutely critical for a venue of this type,” he continued. “Because if we have downtime, that really has a massive impact on the way people perceive a venue and its reputation. We must select brands that give us confidence that we could continue to operate in any eventuality. For a venue like this, easy access to technical and product support is the most important thing.”

Cali Beach is already up and running, with national and international resident DJs and artists hitting the stage and entertaining punters with blistering tunes.

“This is exactly what Surfers Paradise and our city needs,” said Tom Tate, Mayor at City of Gold Coast. “I applaud the team behind this development as it will be a beacon for locals and visitors. I look forward to seeing the evolution of Cali Beach into one of those must-visit destinations, year-round.”

TECHNICAL INFORMATION

VISUAL:

1 x 3m by 2m VuePix Infiled GX Series screen

1 x 10m x 1m VuePix Infiled MV 5.9mm LED screen

1 x NovaStar H-2 processor

LIGHTING: 12 x Acme CETUS moving heads 32 x Acme StagePAR static fixtures

www.calibeach.com.au www.vuepix.tv www.theprestigegroup.com.au

PHAROS EXPERT

All new, innovative, straightforward, and practical, the new Expert range from dynamic lighting control specialists Pharos Architectural Controls, which launched recently at Light + Building in Frankfurt, is here to make lighting control easier. Jack Neill, Product Manager, and Simon Hicks, Director of Product & Marketing, outline what Expert is, and what makes it so exciting. www.pharoscontrols.com

Pharos Expert is a new dynamic lighting control solution centred around a single, reliable, set-and-forget controller. It meets an emerging need in the architectural lighting market for installations that can deliver dynamic lighting control and intuitive zoning logic – within a system that’s easy to commission and easy to use.

Jack Neill, Product Manager at Pharos Controls, explains that Expert is about making everything easier for the user: “The design of the hardware simplifies installation and the commissioning software makes programming effortless by guiding users with easy-to-follow helpers and walkthroughs,” he said. “The desktop app has been designed with lighting fixtures, scenes and stations naturally grouped into spaces, so that users can manage these more intuitively.”

At the heart of the Pharos Expert range is Expert Control, which outputs control to eDMX, local DMX and DALI lighting fixtures. Expert Touch is an elegant companion 5in touch screen wall station. Expert Repeat and Expert Switch are two convenient accessories that coordinate perfectly with Expert Control.

Ease of use coupled with Pharos expertise

Expert Control features a compact DIN rail enclosure with solid-state hardware for 24/7 operation and reliability.

Neill describes how pricing, quality, ease of installation and programming and user experience were all considered in the design of the controller: “We’ve engineered the Expert hardware from the ground up to be attractively priced without compromising on the reliability you expect from Pharos,” he said. “Simple networking for programming and straightforward installation were also key in the design of Control. We carefully considered and consulted on what was required for a smooth out-of-the-box experience, ensuring power, connectors and fixture test modes achieved just what was needed on site.”

As well as standard DIN rail fittings, keyhole hanging options have also been incorporated to make Control easy to position. Available in one DMX or two DMX universe capacities, Control is geared to meet the rise of DMX, which Neill sees as becoming more widespread: “We are increasingly seeing DMX used for functional lighting, particularly in the US,” he continued. “It’s becoming more common to have DMX on select parts of a project, such as a decorative colour-changing element. This is why we saw a need for a controller that could handle these applications elegantly and intuitively.

“We’re seeing tuneable white DMX fixtures come onto the market too, and in Europe there’s growth in DALI for white and colour control. There’s a demand for control systems that can handle both DMX and DALI interchangeably.”

Expert Control presents a practical solution for architectural dynamic lighting – it has it all, but doesn’t bury it in complexity. It offers up to 1,024 channels of eDMX, two local DMX ports, a DALI port and two pairs of IO onboard –alongside simple networking for programming, installationfriendly connectors, and test mode options.

Even

more

from Expert If user interfaces are required, users can add the Expert Touch wall station to their set-up or use the mobile app. Expert Touch is ideal for projects that require frequent user interaction. The 5in touchscreen provides automatically generated pages to access control of the entire lighting installation – fixtures are naturally clustered into spaces, and programming can be done in each space to activate scenes and adjust intensity. Expert Repeat is a convenient

Seeing is believing with Christie's RGB pure laser technology. christiedigital.com/RGBlaser

Expert Repeat is a convenient DMX splitter for output distribution, and Switch delivers PoE networking.

Expert is fully compatible with Pharos Cloud, which means it can be controlled remotely using best-in-class security principles. Simon Hicks, Director of Product & Marketing, Pharos, says Cloud delivers convenience and a great customer experience: “An increasing number of installations require remote management, particularly local authorities, university site managers and estate owners who want to be able to act on social events,” he said. “They expect to be able to change the coloured lighting in their buildings across their city or campus without needing to go on site. Cloud means they can do exactly that – using any Internet-connected device and industry-standard protocols for encryption.”

The best of three worlds

Pharos Expert is aimed at an up-and-coming market with needs that span large-scale installations as well as traditional and small-scale lighting control solutions, while also benefitting from Pharos expertise in dynamic lighting for architecture and Pharos standards of quality and reliability.

Hicks highlights that there’s been a greater incidence of installations, both indoor and outdoor, that need to combine elements and functionalities from different lighting control markets: “On the one end you have largescale installations that require high power and fully flexible control solutions to cater for a wide gamut of possibilities where commissioning is a specialism, and then on the other you have very small-scale control solutions where

ease of setup with minimal commissioning is valued,” he said. “And between these there’s traditional commercial lighting solutions for switchable and dimmable fixtures that offer great control logic and overrides. The Expert range addresses a range of needs from across these three key markets.”

Expert balances technological advancements with simplicity of use and cost effectiveness. It delivers effortless control of decorative and functional lighting, whilst bringing artistic and dynamic control to even the most complex of lighting designs – beautiful architecture can be accentuated, welcoming ambient spaces can be created, and stunning colours with movement can dazzle.

Below: The Pharos team at the launch of Expert at the Light + Building expo in October.

JUST ADD POWER

Just Add Power was founded in 1992 by three former IBM employees, and today, after retirements and relocations, Ed Qualls is the only remaining member from that trio of entrepreneurs. This year the company celebrates 30 years of diverse progress, as they continue to defeat supply chain issues to offer high standard, easy to use AV-over-IP video switching and distribution solutions from their headquarters in Seminole, Florida.

www.justaddpower.com

Left: The MaxColour 4K60 series by Just Add Power.

Right: Just Add Power’s AV capabilities feature in the expansion of Round Rock Tavern in Austin, Texas.

With a keen eye on maintaining customer relationships and adding longevity to existing products and technology, Just Add Power is a company that has always gone about things a little differently.

“I’ve been buying AV gear all my life and have been frustrated by it – every time something new came along, you had to throw the old one out,” admitted Ed Qualls, CEO, Just Add Power.

“That doesn’t make the buyer feel good about their investment or create brand loyalty. ”

With a customer base that often has tight budgets, Qualls is well aware of the benefits of getting them value for money.

“When we design systems for schools and houses of worship – some of those customers don’t have the luxury of deep pockets, they have their budget and that’s that, so they have to make what they have last,” he said.

“And that is where we come in. My design philosophy is ‘evolution not revolution’, and an evolutionary mindset means that we make compatible devices. You don’t come out with something new that your customer thinks ‘oh I have to have that’, and then tell them to throw away everything they already have.

“In our HQ building we have TVs dating back to

2008, and our product works with them all, so our advice is ‘don’t throw out your old TVs’.

“Once a dealer gets comfortable and confident knowing how our products work with older screens, they never then have to tell a customer ‘no, I can’t fix your system’, or ‘no, I can’t expand your system’. This means that over time they grow to appreciate it, and so do the customers.”

Sustainability is also important to Qualls: “There’s no reason to throw these things in the landfill if you design them properly.”

While the company started building white box PCs to sell to schools, the business diversified and now has a global distribution network of its current product lines – and it wasn’t forced to stand still during the pandemic due to the stockpiling of certain critical parts.

“We are shipping product out daily here,” said Qualls. “We have had very few occasions when we’ve had a two-week back-log on something – and that was typically caused by shipping companies, it’s never been caused by us having a lack of product.

“Long before the pandemic, I learned that in the microchip world, the more you buy the better price you get, so I would buy enough

to last two to three years. I wasn’t worried because we were not taking out debt to do this, it was funded by profits of the business. We re-invested our profits into securing a reliable supply chain.

“I was playing the long game, in terms of making more profit down the road, but I didn’t know at that time that I would be able to keep being productive while everyone else was forced to stand still asking ‘where can I get parts’. It’s good to be lucky sometimes. And going forward we’re not going to change our buying habit. Instead we are more confident in it, because we learned it paid off in more ways than one.”

This year the company has been busy showcasing their latest MaxColor 4K60 transmitter and receiver series and the Warp Engine transmitter for creative videowall deployments around the world at various expos, and they plan on celebrating their 30th anniversary in style.

“In December we will be hosting an event in conjunction with a regional CEDIA Tech Summit, so we will have a cocktail party here at our HQ, with an open house for everyone who attends to celebrate with us.”

• Four manually adjustable shutter blades produce a beam where the shutter blade cut projection and the beam’s edge are simultaneously in sharp focus.

• Motorised focus adjustment.

• Focus control locally or remotely.

• Standard B-size metal or glass gobo can be added.

• Effortless mounting thanks to Orbiter’s QLM system. www.arri.com/orbiter-projection

• Launching at LDI 2022:

• ADJ Focus Hybrid beam, spot + wash moving head luminaire.

• 200W LED engine generating 4,100 lumens of output.

• Motorised zoom (2° to 24°) & focus, plus replaceable frost filter.

• Extensive feature set inc. 2 GOBO wheels and 2 rotating prisms. www.adj.com/focus-hybrid

Kvant Spectrum (30W, 33W, 45W)

• State-of-the-art foamed aluminium housing, 28% lighter than its predecessor.

• High-luminosity output thanks to added Orange or Yellow OPSL.

• IP65-rated LED Tilt FX Fixture / 1m and 0.5m models.

• 12 x 60W RGBW LED with Pixel Control.

• 48 x 2W SparkLED Effect with Pixel Control.

• Dual 128 x 1W Strobe Pixel Line.

• 6° to 45° Zoom / 210° Tilt Rotation. www.elationlighting.eu

• Long projection throw and crisp colours due to low-divergence output with near-circular matching laser beam profiles.

• A floating heatsink with enhanced shock absorption eliminates misalignment during transport.

• 40% smaller when packed, more robust and fitted with the FB4 media server. www.kvantlasers.co.uk

Booth 1115

• Fully modular truss system based on L52 and XL101 truss sizes.

• Use the same core elements for infinite possibilities.

• Possible to re-configure the truss for your individual projects.

• Integrated bolt channels enable easy connectivity for any accessory.

• High return-on-investment because of reconfigurability. www.sixty82.nl/alpha82

HORTUS AUDIO MI18.1

Hortus Audio is actively expanding its innovative range of wood-made speaker systems of which the versatile MI18.1 is the biggest. As part of the Hortus Audio Mirage Series, the MI18.1 was rolled out in Q1 2021. The sound system has 1 x 8’ mid-frequency bass reflex speaker and a 1’ high-frequency neodymium tweeter. The speaker performs at 8 ohms as either an active mono version with integrated digital signal processing or as a two-channel passive version. At 200W AES, the ovelshaped double-layered speaker’s sensitivity is 1W/1m: 97 dB.

The MI18.1, which Hortus Audio manufactures and assembles exclusively in Montpellier, France, is composed of high calibre components sourced within Europe with precise and highly protected circuitry. Its amplifier has a power rating of 250W + 150W RMS at 8 ohms and 500W + 75W RMS at 4 ohms. The frequency response is 20Hz – 20kHz in reference to +0/-0.25 dB with an 8-ohm load, and 3 dB below the rated power level. The MI18.1 has several prominent features, such as its 5 x integrated presets, volume control, and peak + signal LEDs. The DSP is controlled on ethernet via an RJ45 input. The speaker is connected through an AC IN 85-265V powercon connector, an audio IN on XRL 3F, an audio link on an XLR 3M output, and an audio OUT on Speakon.

The MI18.1’s wooden frame derives from Finnish birch plywood, and the speaker is frequently delivered to customers after having been varnished. It can also be painted black or white using multiple coats of polyurethane paint, which is both resistant and durable. Upon request, the MI18.1 is also available in an amber coloured design drawn from the transparent resin of a 3D printer.

By using a specifically designed mounting bracket with an integrated ball joint, the 20 kg MI18.1 is most often placed on the ceiling as a permanent indoor installation. From top to bottom, its height is 43 cm with a length of 32 cm and a width of 29 cm. The 8’ Mirage speaker produces stellar sound for a variety of venues including restaurants, cafes, hotels, and people’s private homes.

Besides the M18.1, the Mirage Series also consists of multiple versions of the 5” ovel-shaped MI15, the MIB08 subwoofer and its corresponding oval-shaped 2” and 3” satellite speakers. The wood-based product line also includes the square-shaped Q5 and Q2 as well as the 2-way rectangular-shaped studio monitor Galya passive speaker.

As Hortus Audio continues to install the MI18.1 in and around its home region of Montpellier and in other corners of Europe, as well as overseas such as in Hong Kong, the sound system is reinforcing the French manufacturer’s cutting-edge range of amplifiers, processors, speakers and subwoofers. The uniquely developed MI18.1 sound system is here to stay and promises to bring about new high quality Hortus Audio sound environments for professionals and end users alike around the world.

www.hortusaudio.eu

VECTORWORKS 2023

VECTORWORKS PRODUCT MARKETING MANAGER, ENTERTAINMENT BRANDON ECKSTORM EXPLAINS WHAT VECTORWORKS SPOTLIGHT IS, AND WHAT THE NEWLY UPDATED VERSION IN VECTORWORKS 2023 MEANS FOR ITS USERS.

Vectorworks Spotlight allows entertainment and lighting design professionals to design, document and produce events. With extensive drawing, modeling, database, documentation and collaboration tools, Spotlight helps designers and design teams go from concept to fully created model within a single workflow.

The user experience is a significant update that designers will notice in Vectorworks 2023. These performance improvements are structured to speed up tasks, get them started quicker and automate their processes so they have more time to design.

First, the new home screen is now a single source for getting started, learning, training and other growth opportunities for everyone using the software. The new offset edge tool provides a fast, straightforward way to manipulate 3D objects with both planar and non-planar surfaces. Additionally, the shaded render mode has been updated to support a large number of light sources, environmental lighting and reflections and object reflections provide designers with a powerful and realistic working rendering mode to help make more informed design decisions and ensure a better-quality rendering.

In Vectorworks Spotlight 2023, we continued our focus on improving tools entertainment and lighting designers can trust so they are more efficient and successful in their workflows. Designers will experience faster cable planning and configurations where they will be able to define the entry and exit of cables in a cable run. The new property view tab in the power planning palette allows users to easily select and edit power objects in their model. Plus, cable path updates allow for reporting of all associated cables to a data tag for easier documentation.

The amount of time it will take for users to get used to the new tools will vary a bit depending on how they utilise the software. For example, if someone is mainly focused on lighting design, a solid weekend should be enough time to explore everything and feel comfortable.

Someone who uses the product a bit more, say for set design, will likely need more than two days.

Users can also visit Vectorworks University, where they can expand their skills, perfect workflows, and make the most of the software. www.vectorworks.net

KÖNIG & MEYER NEW MAINTENANCEFREE WIND-UP STANDS SERIES

At this year’s Prolight+Sound, König & Meyer presented their new, durable and user-friendly Wind Up series, which incorporates the 24730 and 24740 Wind Up stands. Their goal was to create lightweight, compact and maintenance-free stands that are easy to operate and have a high load-bearing capacity which conforms to the German safety standard DIN 56950-3. Both stands differ only in the height to which they extend.

Klaus Werner, Project Manager Research and Development at König & Meyer, said: “We analysed the strengths and weaknesses of existing stands on the market and checked all components potential for improvement. The results were incorporated into the modified foot constructions, a new locking system and modified internal guides.

“Due to the design of the drive units for the height adjustment, the stands are almost maintenance-free, and the high maintenance costs which often come about due to sourcing replacement steel cables are no longer necessary.”

The 24730 Wind Up stand extends to 3000mm while the 24740 extends to 4000mm.

“The stands have been extensively tested with much higher loads and no noteworthy signs of defects occurred, so in principle, the stands are nearly indestructible,” said Werner. With musicians often using König & Meyer equipment on a daily basis, Werner and his team considered many factors when it came to making them as user-friendly as possible.

“The segments in the mast are made of steel, to carry the heavy loads, and the base tubes are made of an aluminium alloy,” he said. “Other components are made of die-cast steel and the guides are made of plastic. Even with simple components such as the rivets, our long experience using high quality material pays off.”

The 1ft diameter base, which is required for stability, is guaranteed by the pre-set position when the feet are extended, while the new, patented, AutoLock system offers more convenience for the user’s comfort and security when raising heavy loads, and there is an option adjustable adapter for the stand foot, allowing to compensate for uneven floors, steps or slopes, up to a height of 200mm.

“Among our customers we know musicians and technicians who transport their stands daily in their cars, vans or lorry,” said Werner. “We get a lot of encouraging feedback from them, saying that they benefit from their light weight, and they say that the stands are much easier to handle.”

The new König & Meyer Wind Up stands are suitable for solo entertainers as well as for larger concerts, and they are as likely to be found in use at a street festival or on stage at a concert or theatre production.

www.k-m.de

PRODUCT GUIDE: AMPS & PROCESSORS

APEX Cloudpower

APEX’s CloudPower is a family of remotely managed four channel Class-D amplifiers with integral DSP. Four CloudPower models have been released to date, ranging from the 4 x 350W CP354 to the 4 x 3000W CP3004, all of which are shipping now. CloudPower can drive low impedance and 70/100v speakers, offering a solution for applications scaling from hotels to stadiums. Early installations have focused on performing arts centres, sports and fitness venues, houses of worship and higher education facilities. The amplifiers can be deployed standalone or networked and all models are housed in a slimline 1U chassis. CloudPower is compatible with the UDP protocol, permitting integration with industry-standard control systems such as AMX and Crestron. CloudPower incorporates a Wi-Fi hotspot and is complemented by the IntelliCloud WebUI. As a browserbased application, IntelliCloud can be accessed from any device (iOS, Windows, Android) without the need to download any software. Multiple users can view and adjust the system simultaneously from different devices. All settings are stored in the cloud, giving access to real-time information. IntelliCloud provides an at-a-glance overview of all connected CloudPower devices, helping users to keep track of several amplifiers at once. Global device presets can be saved and uploaded, speeding up the process of configuring multiple amplifiers as well as enabling easy backups.

IntelliCloud has won praise for its linear, logical interface, offering straightforward access to a 10-input matrix for each amp channel as well as gain, delay, PEQ, X-over and limiter parameters. CloudPower’s integral signal generator and speaker preset tools can also be used from the WebUI. Having comprehensive remote control over the amplifiers is an immense time saver for integrators, allowing them to troubleshoot and make everyday adjustments without the need for site visits and taking the legwork out of setup in larger venues. There is also scope to offer clients ongoing value-added remote monitoring services.

CloudPower amplifiers are founded on APEX’s proprietary GlidePath architecture, with DSP and amplifier circuits fully integrated for outstanding performance. GlidePath employs DC coupling throughout the signal path, dramatically reducing the time offsets and distortion associated with AC coupling. Thanks to GlidePath, CloudPower amplifiers deliver crisper, punchier bass and brighter, more natural high frequencies, and superior intelligibility. GlidePath’s ultra-precise reproduction of high transients manages speaker cone excursion, consistently delivering higher output under a short initial impulse and significantly reducing trail output after the signal stops in head-to-head tests against mainstream Class-D amplifiers. This control over cone excursion results in less distortion, higher perceived volume and reduced mechanical wear on speakers.

One of CloudPower’s ‘firsts’ is the inclusion of an integrated audio source and streaming capability, allowing easy playback of background music from devices running Spotify or AirPlay, reducing the need for additional hardware and enabling BYOD applications.

CloudPower accommodates mains voltages of 100-240VAC, allowing it to serve worldwide. Active Power Factor Correction ensures efficient use of the mains power system. The idle power draw of a CP354 or CP704 amplifier is just 17 Watts, saving money and energy compared to regular install amp designs.

In addition to their remote-control capability, all CloudPower amplifiers have a daylight visible OLED display and touch ‘n turn rotary encoder, giving the option of hands-on setup and day-to-day operation.

CloudPower amplifiers are proudly designed and made in Belgium. APEX has supported the rollout of CloudPower with a series of firmware updates. The latest release, V1.2.1, contains a dozen new and refined features inspired by feedback from integrators and end users. www.apex-audio.be

Amate Audio TPD3K

Over 35 years ago, Amate Audio introduced its original ‘TriPhonic’ 2.1 power amplifier design, an integrated L/R & sub solution for small sound installations. its TPD series revives the concept with a Class-D based design and onboard DSP loudspeaker management, reducing cabling and complexity. The new TPD3K is a higher power-rated iteration of the rack-space saving concept, delivering more than 3,000W of combined power, with up to 750W continuous program power each left and right channel, and 2,000W for a sub (at 4 Ω).

On-board DSP offers the powerful performance advantage of the company’s active self-powered loudspeaker systems for passive installations. Remote PC based configuration via a front panel USB port enables control and passwordlock of the unit with intuitive DSPLink software. Adjustable parameters include accurate filters, parametric EQs, Peak / RMS limiters, and delays enabling timealignment of the amplifier channels. Additionally, Amate Audio R&D’d presets provide optimum system configuration for a range of Amate Audio speaker models. A total of six discrete DSP channels comprise one for each amplifier channel and three AUX, assignable on balanced XLR outputs. The TPD3K’s power and performance premium comes with no increase in the 2U 19in rack form-factor and at 9kg, just 1kg of additional weight. www.amateaudio.com

d&b audiotechnik 5D Amplifier

The 5D installation amplifier is a four channel DS amp featuring integrated audio networking and flexible output power sharing — all within an ultra-compact design. The 5D features a high-density form factor, with a 1 RU 9.5in footprint. The amplifier is the perfect size to drive smaller loudspeakers and can be mounted under tables or ceilings as well as in a rack, allowing d&b to serve a greater number of installations – no matter the size or needs of the venue.

The 5D is the first d&b amplifier with integrated Dante networking. This feature allows for flexible system configuration changes and convenient deployment of decentralised system designs ensuring that a d&b system will provide the scalability, flexibility and reliability needed for today’s installations. The 5D amplifier improves the affordability of a d&b system, opening up d&b technology to more projects around the world, both small and large. www.dbaudio.com

Alcons Audio Sentinel3 & Sentinel10 Amplified Loudspeaker Controllers

Alcons Audio has developed the Sentinel amplified loudspeaker controllers to drive every Alcons system and get the absolute maximum performance out of the pro-ribbon systems. With a powerful four-channel DPS-based controller with Class-D amplifier stages, the four individually addressable inputs accept analogue or up to 192 kHz digital AES3 signals, that are up/down sampled to 96 kHz by the custom high-end sample rate converters.

The future-upgradable powerful DSP engine enables minimal latency during the processing of even the most complex (IIR, FIR) algorithms. On-board features, controllable through the full-colour touch-screen, include 6-band (shelf/pass/parametric) equalising per channel, delay, factory presets for all systems and system configurations, user presets, event logging, and system feedback. Extended functionalities are included in ALControl the Sentinel remote-control application.

The four patent-pending Class-D amplifier stages are 93% efficient and offer one of the lowest THD in the industry. Together with the two (redundant) switch-mode power supplies, the Sentinel3 delivers a total of 3,000W and the Sentinel10 delivers a total of 10,000W. The modular design makes for easy ‘in-the-field’ servicing and future upgradable hardware.

www.alconsaudio.com

HH Electronics M-Series Amplifiers

UK-based HH Electronics has launched its M-Series high power, 2U rack amplifiers. The Series is designed to provide maximum performance for demanding applications everywhere from bars, restaurants and clubs, to houses of worship, live music and education settings. There are three models available. The M-750D, M-1500D and M-2600D all draw on HH’s five decades of pioneering heritage in the field of amplifier design and development. Designed and engineered in the UK the Series boasts high quality, heavy duty toroidal power supply, robust chassis, ultra-reliable linear power stage, and comprehensive protection system.

www.hhelectronics.com

Lab-Gruppen D-Series Amplifiers

The Lab-Gruppen D-Series is a range of amplifiers with flexible output channels, Lake Digital Signal Processing, Onboard Biamp Tesira integration, Ethernet AVB audio networking and digital audio networking for installation applications. The D-Series power amplifiers are designed for installation, and comprise six models from 4,000W to 8,000W.

The D-series is based on the same foundation of robust, highpower amplifier technologies as Lab-Gruppen renowned PLM Series – an amplifier platform with a proven record of reliability and sonic performance on the world’s most gruelling concert tours, and in high-profile, large-scale installations. www.polar.uk.com

LEA Professional

The LEA Professional Connect Series 1504 four-channel amp drives up to 1,500 watts per channel or two Smart Power Bridge channels at 3,000 watts. Available with or without Dante, the amp features advanced DSP that includes linear phase FIR filters and up to 4 seconds of delay. With three different methods of network connection, users can connect using the amplifier’s builtin Wi-Fi Access Point, connecting to an existing Wi-Fi network, or using a Local Area Network Ethernet connection.

Unique to any other professional amplifier manufacturer, the new Connect Series models also leverage the built-in Amazon Web Services (AWS) IoT Core. This provides systems integrators with powerful, reliable and secure remote monitoring and control capabilities across their entire lineup of IoT-enabled amplifiers through the LEA Cloud. www.leaprofessional.com

Meyer Sound Galileo GALAXY Network Platform

Linea Research 88C20

The 88C20 from Linea Research is the flagship of Linea Research’s installation-focused C Series range of networked DSP amplifiers. C Series amplifiers are available in 4 and 8 channel variants with power ratings from 400W to 2500W per channel. The 8 channel 88C20 offers up to 2500W per channel into 4 ohm loads for a total output power of 20kW. Advanced 96kHz DSP offers input routing and mixing, input and output equalization, FIR filters on every output, crossovers with traditional and linear phase topologies, multiband output limiting with VX virtual crossovers, and third-party control integration. For networked audio applications, C Series amplifiers are also available with Dante / AES67 connectivity.

Linea Research products are designed and manufactured in the UK. www.linea-research.co.uk

Meyer Sound’s

open-source AVB

a new level of audio control in

by building on Galileo’s meticulously

algorithms

the patented five-band U-Shaping and parametric EQ. The GALAXY

is certified as fully

the AVB-based, Milan deterministic network protocol, ensuring that GALAXY processors will offer seamless interoperability with all other Milan-certified devices in the signal chain, regardless of function or manufacturer. With second-to-none sound performance, Galileo GALAXY provides a powerful toolset for corrective equalisation and creative fine-tuning, in a full range of applications from touring to cinema. It represents a new generation of FPGA-based processing with up to 64-bit resolution, delivering increased dynamic range, a lower noise floor, and super-low latency of 0.6ms analog in to analog out. GALAXY lets you work smarter and quicker, whether it’s reconfiguring network audio routing, expanding the system, or integrating with AVB-capable network infrastructure. All audio and control data pass through one single network cable. www.meyersound.com

Galileo GALAXY Network Platform harnesses

technology to extend

driving and aligning loudspeaker systems with multiple zones. GALAXY elevates the industry’s best processing tools

engineered

to retain users’ favorite processing tools, including

Network Platform

compliant with

NEXO NXAMP4x4 MK2

Available in 4 X 1,300W, 4 X 2,500W and 4 X 4,500W versions, the NXAMP MK2 combines advanced signal processing with four state-of-the-art Class D amplifiers to create a flexible, light-weight powering and control solution for NEXO loudspeaker systems. Ideal for use in fixed installations and touring, these powered controllers are easy to set up and quick to deploy, with all essential parameters readily accessible via a large colour touchscreen on the front panel and a comprehensive range of control and networking facilities on the rear panel. Partnered with NEXO speakers, the new NXAMP MK2 delivers a whole new level of sound quality.

www.nexo-sa.com

Optimal Audio SmartAmp

SmartAmp is a series of amplifiers with DSP, competitively priced for the commercial market, to accompany our loudspeaker and control offering.

A core offering of three multichannel direct drive constant voltage amplifiers, with 30 DSP settings available for maximum performance from Optimal Audio loudspeakers. Flexible configuration makes SmartAmp the natural choice for installation projects. The range comprises: SmartAmp 10 (a 2 x 125W amplifier), SmartAmp 20 (a 4 x 125W amplifier), and SmartAmp 30 (a 4 x 250 amplifier), all with integral DSP. www.optimal-audio.co.uk

The Q-SYS Core 610 represents the next generation of Q-SYS processing, pairing the Q-SYS OS with an enterprise-grade Dell COTS server to deliver a flexible and scalable AV&C solution for a vast range of larger-scale applications. This fully networked processor lets you centralise processing for multiple spaces or zones while distributing network I/O where it’s most convenient. Q-SYS + Dell: In partnership with Dell, Q-SYS deployed the full-featured, software-based foundation of the Q-SYS OS on an industry-tested Dell server to deliver a uniquely flexible and scalable AV&C solution. Like the rest of the Q-SYS processing portfolio, the Core 610 offers a configurable audio DSP, a full-featured control engine and network-based video switching in a single processor, greatly simplifying system design and deployment. The Core 610 is a fully-networked AV&C processor, providing the flexibility to centralise the location of the processor and even use it across multiple rooms, and then position your desired I/O (either native Q-SYS Products or third-party devices) closer to the endpoints, resulting in a more streamlined system topology. Additionally, leveraging the network makes deploying the same room type across buildings or campuses simpler and more cost-effective. Q-SYS Scaling and Feature licences let you tailor system capabilities to your specific application through simple firmware updates. www.qsys.com

Powersoft Mezzo

Mezzo packs the same levels of clarity, reliability and build quality you would expect from any Powersoft install amplifier into a half-rack unit form factor.

Scaled down in form, but not in substance, Mezzo features a state-of-the-art DSP and comes in two power sizes (320W and 600W), with two or four channels of output. Power sharing allows the user to send the entirety of the available power to a single channel at almost any load. All Mezzo models offer multiple analogue input options, with the two-channel versions also featuring line-level outputs.

AD versions of Mezzo add audio networking capabilities with Dante/AES67 and an internal Gigabit Ethernet switch with a second port so that multiple products can share the same network. The smaller versions of Mezzo are sealed designs perfect for hidden placement, such as mounted above the ceiling or tucked in a wall box. The included rack-mounting accessories allow multiple options: one or two Mezzo in a 19in rack, or one Mezzo in an 11in rack. The included wall-mount brackets allow it to be mounted on any flat surface, as well as under a table or in the ceiling. Rubber feet also allow Mezzo to be placed on a shelf.

www.powersoft.com

1. LPS

LPS-Bax SixSCAN

The LPS-Bax SixSCAN scanner bar is designed for all kinds of professional staging and is available with 12K RGB and 18K RGB laser power. It is fitted with six laser scanners and six RGB (whitelight) laser modules, each individually controllable. Thus, each scanner emits either the same animation or, if you like, a different one. The LPS-Bax SixSCAN is controllable via DMX 512 (27, 121 up to 157 channels), ArtNET and ILDA. Modified by LPS, it convinces with a smart design for rough use on stage, festivals, in theatres and other kind of events. That is why it is fitted with PowerCon True1, five-pin DMX, LCD-Display, key switch, interlock, safety by an XLR e-stop. Because of an ironing holder, the bar can be perfectly attached to trusses, whether horizontally, vertically, diagonally or individually. Measuring with brackets from 100cm by 20cm by 28cm and weighing 24.5kg, the LPS-Bax SixSCAN can be purchased or dry-hired worldwide.

www.lps-laser.com

2. Lynx

Pro Audio

Rainbow 3D

Lynx Pro Audio has released Rainbow 3D, its electro-acoustical prediction software for loudspeaker systems, boasting comprehensive high-speed simulation in a three-dimensional environment.

Building on the company’s existing 2D software and led by Raúl Jordán from Lynx Pro Audio’s R&D department, Rainbow 3D has been coded from scratch in a five-year in-house development process. In tandem with this, over the course of this year new spherical measurements of the company’s full loudspeaker portfolio have been performed in their recently built anechoic chamber.

The software provides a visually rich environment, with detailed loudspeaker representations and selectable textures for planes. As well as materials you would expect such as wood or concrete, or textures from imported images, drawings of elements such as a football pitch or a basketball court can be picked from the built-in library as a simple way to add recognisable characteristics.

Rainbow 3D is an ongoing project that will be constantly adding new features. In the near future, communication with OCS, the company’s control and monitoring software, will be available. After extensive beta testing carried out with the help of Lynx Pro Audio users, Rainbow 3D is now available for download.

www.lynxproaudio.com

3. Tasker

SK1038 DMX and Lights Cable

The TSK1038 is a product with a nominal section of 2 x 0.35 sq mm with tinned O.F.C. copper formation and shielding with a braid covering 85% and aluminum foil tape. This is all realised by keeping an outer diameter of 6.3mm, with soft PVC sheath available in different colours.

The product has a full range of dedicated applications. Starting from the original, extra soft and flexible, available in three different colours, to the TSK1038 LSZH with low smoke and zero halogen sheath available with or without homologation for low or medium fire resistance class Eca or Cca.

Tasker TSK1038 PUR has an outer sheath in Polyurethane – a very special and particular material that has several features like being flame retardant and halogen free and resistant to friction, treading, atmospheric agents, UV rays and to cold or heat, keeping an operative temperature of -40/+80°C.

These characteristics make this cable the best solution for outdoor mobile use even for permanent installation and under water at maximum 50m depth.

The last tasker application for this kind of cable is the TSK1038 AR, a cable with a special steel armour braid over the sheath for underground installation even in presence of rodents. www.tasker.it

4. Vari-Lite

X-Series console

The Neo X15 and Neo X5 are a family of high-performance lighting consoles designed for mixed-use facilities such as performing arts centres; stadiums and arenas; houses of worship; studios; schools; and more.

The new X15 is Vari-Lite’s flagship, high-performance lighting console, offering 15 multifunctional motorised playbacks and backlit encoders, and can output over 50,000 channels out of the box. The intuitive hardware layout includes two built-in monitors, a soft touch control screen, and built-in audio I/O connectivity that makes it easy to integrate lighting cues with sound effects, videos, and more. A smaller five-fader X5 console is expected out early next year, with the same processor, build quality, and 100 universes of DMX as the X15. The all-new Neo 4.0 software on the X Series helps designers find the perfect look in less time by including an advanced effects engine that supports pixel mapping, media playback, timelines and more. www.vari-lite.com

PowerLightsAugsburg

Hofrat-Röhrer-Straße 16 D-86161 Augsburg

Tel.: +49/821/2 63 94 47 Fax: +49/821/2 63 94 69 info@mbn-eventproducts.com mbn-eventproducts.com

AD INDEX

Absen 39

Adam Hall 115

Adamson 3

ADJ 85

Amate 109 Antari 49 Arno 8

Audiofocus 49 Chauvet 71 Christie 37 & 95 Chromateq 111 Clear-Com 73 CLF 91 d&b audiotechnik 5 Digital Projection 21 DTS 89 Duratruss 114 Elation 51 Flash Butrym 97 Genelec 33

Harmonic Design 105 ISE 54 & 55 K-Array 59 Konig & Meyer 81 & 105 Kvant 53 L-Acoustics 2 Laser Animation 83 Lawo 7

Look Solutions 41 LPS 101

Lynx 97

Meyer Sound 65 Neutrik 111 Novastar 109

Palm Expo 87 Pharos 24 & 25

Powersoft BC RCF 63

Robe 43

Sennheiser 39

Showven 4

Signify 77 Solotech 77

Starway 26 Steinigke 35

Tasker 45 Tech Team 15 Twenty Three 81 X-Laser

Yestech